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I 


THE  HOLDEN  COLLECTION 


CATALOGUE  OF  A COLLECTION 
OF  PAINTINGS,  ETC.  PRESENTED 
BY  MRS.  LIBERTY  E.  HOLDEN  TO 
THE  CLEVELAND  MUSEUM  OF  ART 

PREPARED  BY  MISS  STELLA  RUBINSTEIN 


THE  CLEVELAND  MUSEUM  OF  ART 
CLEVELAND,  OHIO 
1917 


N 


COPYRIGHT,  1917,  BY  THE  CLEVELAND 
MUSEUM  OF  ART 


The  Roger  Williams  Press , Cleveland 


GALLERY  IV  THE  HOLDEN  COLLECTION 


A COLLECTION  OF  PAINTINGS 

GIVEN  BY  MRS.  LIBERTY  E.  HOLDEN 


MRS.  HOLDEN’S  very  important  collection  of  old  masters 
was  acquired  by  her  husband  from  paintings  gathered  dur- 
ing an  extended  stay  in  Italy  by  James  Jackson  Jarves, 
who  had  hoped  that  the  pictures  might  ultimately  be  housed  in  a 
museum  and  become  the  nucleus  for  the  study  in  America  of  Italian 
art.  With  this  end  in  view,  Mr.  Jarves,  in  i860,  exhibited  his 
pictures  at  the  Derby  Galleries,  625  Broadway,  New  York,  and 
again  in  1863,  at  the  rooms  of  the  New  York  Historical  Society. 
The  project  of  the  establishment  of  such  a center  for  Italian  art 
could  not  then  be  successfully  carried  out. 

At  the  time  of  this  latter  exhibit  Mr.  Jarves  offered  one 
hundred  and  thirty  of  the  pictures  to  the  Historical  Society  for 
^50,000,  but  the  offer  was  not  accepted.  Of  the  examples  now  in 
the  Holden  Collection  only  the  Madonna  and  Child  (No.  44), 
attributed  to  Leonardo,  was  among  the  pictures  offered  to  the 
Society.  Later,  Mr.  Jarves  deposited  most  of  his  pictures  with  the 
trustees  of  Yale  College  as  security  for  a loan  made  to  him  by  the 
college,  and  as  he  was  unable  to  meet  the  obligation,  he  forfeited 
the  pictures  to  the  college. 

Some  works,  however,  were  not  deposited  at  Yale,  and  these, 
together  with  a number  which  were  probably  acquired  later,  were 
shown  in  1883  and  1884  in  the  Boston  Foreign  Art  Exhibition. 
It  was  this  group  of  paintings  which  was  bought  in  1884  by  the 
late  Mr.  Holden. 

The  preface  to  the  Handbook  for  Visitors  stated  that  the 
pictures  in  the  collection  were  not  presented  as  masterpieces  but 
as  types  of  the  greater  men  and  their  schools,  fairly  characterizing 
their  motives,  coloring,  design,  and  modeling;  average  represen- 
tative examples  of  their  minor  work,  but  possessing  some  distinc- 
tive recognizable  qualities  to  those  who  had  made  a study  of  them.1 
An  additional  point  of  interest  to  connoisseurs  is  supplied  by  the 
fact  that  the  authors  of  many  of  the  paintings  are  uncertain,  thus 
offering  possibilities  of  discussion  and  research. 

1 Handbook  for  Visitors  to  the  Gallery  of  Old  Masters  exhibited  at  the  Boston  Foreign 
Art  Exhibition.  1883-1884. 


7 


THE  CLEVELAND  MUSEUM 


Most  of  the  paintings  in  the  Holden  Collection  are  on  religious 
subjects.  By  following  them  closely  one  can  note  the  historical 
development  in  the  treatment  of  religious  themes.  The  earliest 
of  the  pictures  show  strong  Byzantine  influence,  even  though  the 
spirit  of  interpretation  of  the  themes  is  of  later  epoch.  Especially 
is  this  double  strain  clearly  marked  in  the  Madonna  Suckling  the 
Child  (No.  1 6),  where  the  golden  background,  the  pose  of  the  Virgin 
and  the  drapery  are  Byzantine,  while  the  lower  part  of  the  picture 
just  as  strongly  expresses  the  Renaissance  influence.  Character- 
istics of  the  art  of  these  two  different  periods  are  again  plainly 
evident  in  the  Madonna  and  Child  (No.  36),  where  almost  the 
entire  picture  is  in  the  Byzantine  spirit,  only  the  movement  of 
the  Child  and  the  introduction  of  nature  showing  the  influence  of 
the  Renaissance.  The  collection,  in  fact,  illustrates  the  gradual  but 
ultimately  complete  abandonment  of  the  Byzantine  idea,  even 
though  the  gold  background  is  still  used  by  some  of  the  artists. 
The  beautiful  picture  by  San  Severino,  representing  the  Virgin 
Enthroned  with  the  Child  and  the  Saints  (No.  34),  may  be  con- 
sidered as  an  intermediary  step  in  the  representation  of  the  Virgin 
between  the  earlier  and  the  more  highly  developed  types,  in  which 
her  human  qualities  make  her  a real  mother,  as,  for  instance,  in 
the  Madonna  by  Lorenzo  di  Credi  (No.  12).  In  the  subject  of  the 
Crucifixion,  the  same  changes  can  be  seen.  The  little  Crucifixion 
(No.  35),  is  an  example  of  the  early  delineation  of  Christ  on  the 
Cross;  while  the  Crucifixion  by  the  school  of  Sodoma  (No.  37), 
in  the  introduction  of  a greater  number  of  spectators  and  the  group 
which  includes  the  fainting  Virgin,  shows  the  later  spirit. 

Portraiture  in  the  Holden  paintings  is  well  represented  by 
several  masterly  examples,  and  the  collection  as  a whole  admir- 
ably shows  the  progress  of  painting  from  the  early  Italian  schools 
to  the  end  of  the  Renaissance. 


Stella  Rubinstein. 


ITALIAN  SCHOOL 

GALLERY  IV 


ITALIAN  SCHOOL. 


ALLORI,  CRISTOFANO.  1577-1621,  Attributed  to.  Flor- 
entine School. 

Son  and  pupil  of  Alessandro  Allori,  who  was  the  nephew 
of  Bronzino  and  an  estimable  portraitist. 

Portrait  of  a Lady  as  Saint  Catherine. 

Against  a dark  brown  background  is  seated  a young 
woman,  dressed  in  a bodice  of  faded  rose  color,  with  a 
touch  of  white  across  her  chest,  and  around  her  wrists  a 
cuff  of  soft  material;  a thin,  transparent  veil  covers  her 
head.  On  the  third  finger  of  her  right  hand  she  wears  a 
jeweled  ring.  The  picture  is  essentially  a portrait;  only 
the  symbols — the  palm  leaf  which  she  holds  and  the  wheel 
of  torture  against  which  she  rests — suggest  the  martyr, 
St.  Catherine.  The  drawing  is  correct  and  the  technique 
good. 

Wood.  Oil.  37!  inches  high;  28i  inches  wide. 

BALDOVINETTI,  ALESSIO,  1425-1499,  School  of.  Flor- 
entine School. 

Madonna  Adoring  the  Child.  ( See  illustration.) 

The  Infant  Jesus  reposes  on  a bed  of  grass  strewn  with 
wild  flowers,  His  head  against  a cushion,  His  body  resting 
on  a fold  of  the  Virgin’s  cloak.  Timidly  He  turns  His  eyes 
and  holds  out  His  arms  to  His  mother,  who  kneels  at  His 
feet.  Her  face  looking  down  upon  Him  has  a sweet,  inno- 
cent expression;  her  hands  are  folded  and  her  whole  atti- 
tude reflects  the  charm  of  the  hymns  composed  in  her 
honor.  In  a rugged  landscape  behind  the  Virgin,  with 
rocky  boulders  and  pine  trees,  diversified  by  a wide- 
spreading,  cultivated  valley,  are  Tobias  and  the  Arch- 
angel. 

This  group  is  very  like  one  in  the  picture  by  Francesco 
Botticini,  Tobias  and  the  three  Archangels,  in  the  Acad- 
emy of  Fine  Arts  in  Florence;  the  pose  of  the  Infant  is 
almost  identical  with  the  child  in  Botticini’s  picture,  The 
Adoration  of  the  Infant  Jesus,  in  Modena.1  The  expres- 

1Reproduced  in  the  work  on  Botticini  by  Ernst  Kiihnel.  Taf.  VII. 


THE  CLEVELAND  MUSEUM 


sion  of  the  Virgin  reminds  one  of  the  Virgin  with  the  Vio- 
let, by  Lochner,  in  the  Seminary  of  Cologne,  which  is 
superior  in  execution,  but  has  the  same  charming  and 
childish  expression.  The  picture  has  been  ascribed  by 
Mr.  Jarves  to  Piero  della  Francesca;  Mrs.  Berenson  says 
that  the  picture  looks  like  the  work  of  Sellaio,  but  that 
it  is  by  Botticini  and  that  the  landscape  is  directly  from 
Baldovinetti.1  Mr.  Berenson  speaks  of  it  as  a work  by 
Botticini.2  Dr.  Osvald  Siren  and  August  F.  Jaccaci  at- 
tribute it  to  the  School  of  Baldovinetti.3 
Thus  the  weight  of  opinion  inclines  to  the  School  of 
Baldovinetti  on  account  of  the  striking  similarity  of  the 
Virgin  and  landscape  to  Baldovinetti’s  Virgin  and  land- 
scapes.3 

Wood.  Tempera.  42I  inches  high;  24^  inches  wide. 

BASSANO,  LEANDRO;  real  name  DA  PONTE,  1 55 8- 
1623.  Venetian  School.  Pupil  and  assistant  of  his  father, 
Jacopo  Bassano. 

3 The  Entombment. 

The  dead  Christ  is  supported  by  two  angels  who  are  wrap- 
ping Him  in  a white  shroud,  one  holding  the  end  of  it  at 
His  feet,  the  other  supporting  His  head  with  one  hand  and 
His  body  with  the  other.  Blood  drips  from  His  side  and 
hands  and  from  His  head,  from  which  the  crown  of  thorns 
has  fallen  down  and  round  which  rays  of  light  form  a 
halo.  The  head  has  the  expression  of  intense  suffering 
often  seen  in  the  representations  of  the  Sixteenth  century, 
and  even  more  dramatically  expressed  in  the  pictures  of 
Guido  Reni;  the  body  has  a blackish  and  greenish  tint 
suggestive  of  Tintoretto.  Its  treatment  shows  an  under- 
standing of  anatomy.5 

The  angel  in  the  foreground  wears  a sleeveless  yellow 
tunic,  with  the  white  sleeves  of  an  undergarment  rolled 

1Rassegna  d’Arte,  January  1907. 

2The  Florentine  Painters  of  the  Renaissance,  P.  119. 

3Bulletin  of  The  Metropolitan  Museum  of  Art.  October,  1912. 

4See  his  Annunciation,  and  the  Virgin  Enthroned  with  Saints,  in  the  Uffizi,  Florence, 
and  the  Nativity  in  Church  of  SS.  Annunziata,  Florence. 

5The  entombment  is  not  represented  in  art  before  the  first  half  of  the  Fourteenth  cen- 
tury; the  use  of  it  came,  probably,  from  the  early  mystery  plays. 


12 


THE  HOLDEN  COLLECTION 


above  the  elbow;  the  other  angel  wears  a red  blouse, 
opened  at  the  throat,  a white  garment  beneath. 

The  background  shows  a landscape  with  horsemen  riding 
in  the  distance,  three  crosses  silhouetted  against  a blue 
sky,  and  a tree  in  the  foreground. 

This  painting  was  formerly  ascribed  to  Titian;  then  to 
Tintoretto,  and  recently  by  Mrs.  Berenson,  to  Leandro 
Bassano.1  There  is  a great  resemblance  between  it  and 
the  Pieta  by  Leandro  in  the  Munich  Pinakothek;2  in 
both  pictures  the  bodies  of  the  Christ  are  almost  identical, 
in  pose  as  well  as  in  modeling.  The  costumes  of  the  angels 
are  similarly  treated  in  other  pictures  by  Leandro  in  the 
Imperial  Museum  of  Vienna. 

Canvas.  Oil.  48!  inches  high;  30  inches  wide. 

BICCI,  NERI  DI,  1419-1491.  Florentine  School. 

Pupil  and  close  follower  of  his  father,  Bicci  di  Lorenzo. 

Virgin,  Child  and  Angels.  ( See  illustration .) 

Against  a gray-green  background,  strewn  with  stars,  sits 
the  Virgin,  of  simple  and  sympathetic  mien,  adoring  the 
Infant  Jesus  who  lies  on  her  lap.  Her  robe  is  red,  trimmed 
with  a golden  border;  her  mantle,  of  blue,  with  yellow 
lining. 

The  Child  is  not  idealized,  but  looks  like  a peasant  child, 
with  a rather  old  expression.  On  each  side  an  angel  sup- 
ports it;  the  one  to  the  right,  candid  and  simple,  the  other 
refined,  dressed  with  elegance  in  a brown  dress  puffed 
in  the  fashion  of  the  time,  with  his  hair  charmingly  curled. 
He  resembles  Fra  Angelico’s  angels,  but  lacks  their  sim- 
plicity. Above,  on  each  side  of  the  Virgin’s  head,  are  little 
cherubs,  framed  in  wings,  characteristic  of  the  Italian 
Renaissance,  and  especially  of  the  art  of  the  Della  Robbia. 
The  picture  as  a whole  is  interesting  and  a good  example 
of  the  art  of  Neri  di  Bicci,  who,  without  great  talent,  did 
his  work  well.  His  themes  in  religious  paintings  were  lim- 
ited to  four;  The  Annunciation,  The  Assumption  and  the 
Coronation  of  the  Virgin,  The  Virgin  with  the  Christ,  and 

1 Rassegna  d’Arte,  January  1907.  Whenever  in  this  catalogue  mention  is  made  of  Mrs. 

son’s  opinion,  the  reference  will  be  found  in  Rassegna  d’Arte,  January  1907. 

2 See  reproductions  in  Zottman:  Kunst  der  Bassani,  tab.  22,  23,  24. 

13 


THE  CLEVELAND  MUSEUM 


the  Crucifixion.1  Comparing  this  picture  with  a similar 
one  in  the  Museum  of  Fine  Arts  in  Budapest,  one  finds  a 
strong  resemblance  in  the  heads  and  in  the  expression  of 
the  faces;  the  more  refined  angel  of  this  picture  resembles 
the  angel  in  an  Annunciation  in  the  Academy  of  Florence; 
the  other  angel  and  the  Virgin  closely  resemble  similar 
figures  in  a picture  in  the  Chiesa  di  S.Felicita  in  Florence. 

Wood.  Tempera.  25!  inches  high;  183^  inches  wide. 

“PSEUDO  BOCCACCINO.”  Active  about  1500.  Milanese 
School. 

5 Adoration  of  the  Shepherds. 

The  background  shows  a landscape  of  rolling  hills  against 
a sky  of  soft  green-blue  and,  in  the  foreground  to  the  left, 
a house  with  a doorway.  The  Virgin,  in  a red  robe,  kneels 
in  tender  adoration  before  the  Child,  who  lies  upon  an  end 
of  her  dark  blue  mantle  and  holds  out  His  arms  to  her. 
Saint  Joseph,  wearing  a yellow  robe  and  a red  mantle,  car- 
ries a long  stick  in  his  right  hand  and  holds  a cap  in  his 
left;  at  the  right  are  two  shepherds  in  adoration,  one  of 
very  plebian  type,  in  a yellow  tunic,  the  other  refined, 
in  a gray  tunic  and  ragged  blue  trousers. 

Wood.  34tV  inches  high;  13!  inches  wide. 

BOTTICINI,  FRANCESCO,  i446[  ?]-i497.  Florentine 
School. 

Pupil,  first  of  Neri  di  Bicci,  then  of  Botticelli  and  Ver- 
rocchio, by  both  of  whom  he  was  greatly  influenced. 

6 Virgin  and  Child.  ( See  illustration.) 

In  an  airy,  pleasant  landscape  the  Virgin  is  seated  holding 
the  Infant  Jesus  on  a pillow  on  her  knee.  In  His  right  hand 
He  clasps  a bird,  while  He  sucks  two  fingers  of  His  left 
hand.  Unlike  the  infants  in  paintings  of  the  earlier  periods, 
He  has  the  appearance  of  a real  child.  The  Virgin  wears  a 
loose  blue-green  mantle,  with  yellow  lining,  over  a pink 
robe,  and  on  her  head  a draped,  transparent,  buff-gray 
veil.  Her  expression  is  tender,  and  her  oval,  slightly  elon- 
gated face  is  reminiscent  of  both  Botticelli  and  Verrocchio. 

1Kuhnel,  Ernst:  Francesco  Botticini,  p.  25. 


THE  HOLDEN  COLLECTION 


This  exquisite  picture  has  been  ascribed  to  Ghirlandaio; 
by  Baron  Liphard  to  Verrocchio,  and  by  Mrs.  Berenson 
to  Botticini.1  There  is  a marked  analogy  between  it  and 
the  Virgins  of  the  Uffizi,  the  pictures  by  Verrocchio  in 
the  National  Gallery,  and  a painting  by  Botticini  in  the 
collection  of  Mrs.  Gardner  in  Boston. 

Wood.  Tempera.  26!  inches  high;  i8t5s  inches  wide. 

BRAMANTINO,  BARTOLOMEO  SUARDI,  1450-55 
— 1530.  Milanese  School. 

7 Adoration  of  the  Shepherds. 

The  scene  is  in  an  old  stone  enclosure,  beyond  which,  to 
the  left,  is  disclosed  a landscape  with  hills  and  houses,  and 
a soft,  clear  blue  sky.  On  a fold  of  the  Virgin’s  mantle  lies 
the  Infant  Jesus.  The  Virgin,  her  blond  hair  hanging  loose, 
wears  a very  dark  red  robe  and  a blue  mantle  edged  with 
gold.  Behind  her,  Saint  Joseph,  in  a dark  brown  robe  and  a 
golden  brown  mantle,  is  seated  in  the  traditional  fashion. 
Near  the  Virgin,  in  an  attitude  of  adoration,  stands  an 
angel  dressed  in  transparent  white,  and  next  to  him  kneel 
two  shepherds.  The  golden  brown  robe  wrapped  round 
the  one  in  the  foreground  but  half  conceals  his  bare  shoul- 
ders and  arms.  Behind  these  shepherds  is  a third,  almost 
nude,  while  to  the  extreme  left  stands  a cow.  In  the  upper 
right-hand  corner  of  the  wall  is  the  angel,  who  has  appar- 
ently just  announced  the  miracle  to  the  shepherds.2 
The  conception  of  the  kneeling  shepherd  in  the  foreground 
and  of  the  one  standing,  is  not  in  the  spirit  of  the  rest  of 
the  composition.  This  picture  has  some  analogy  with  the 
Adoration,  by  Bramantino,  in  the  Ambrosiana  in  Milan.3 

Wood.  1 61V  inches  high;  1 it3¥  inches  wide. 

1See  Bulletin  of  the  Metropolitan  Museum  of  Art,  October,  1912. 

2 The  representation  of  shepherds  in  adoration  was  not  known  in  the  Thirteenth  and 
Fourteenth  centuries,  when  the  mere  announcement  by  the  angels  to  the  shepherds  constituted 
the  theme.  In  the  Fifteenth  century,  kneeling  shepherds  were  introduced.  (Male,  Emile: 
V Art  religieux  de  la  fin  du  moyen  age  en  France. ) 

3 Reproduced  in  L’ Arte,  1914,  p.  25. 


15 


THE  CLEVELAND  MUSEUM 


CIGOLI,  LUDOVICO  CARDI,  1559-1613,  Attributed  to. 
Florentine  School. 

Pupil  of  Alessandro  Allori  and  Sante  di  Tito,  developed 
under  Baroccio. 

8 Portrait  of  a Member  of  the  Medici [?]  Family  Rep- 
resented as  Saint  Peter  the  Martyr. 

Against  a light  brown  background  is  shown  the  portrait 
of  a youth,  from  whose  wounded,  tonsured  head  blood  is 
flowing.  Flis  tunic  is  of  light  chestnut  brown  with  black 
passementerie,  and  around  his  neck  a soft  white  material 
is  arranged  in  folds. 

It  is  a pleasing  and  well-preserved  picture,  the  colors 
delicate  and  harmonious.  The  drawing  of  the  head  is  cor- 
rect, the  ears  finely  formed.  It  is  distinctly  a portrait,  only 
the  wound  in  the  head  suggesting  Peter  the  Martyr,  and  it 
is  very  likely  that  of  Giovanni  de’  Medici,  second  son  of 
Cosirno,  since  it  resembles  one  of  him  painted  by  Bron- 
zino.1 

Canvas.  17  inches  high;  12!  inches  wide. 

CIMA  DA  CONEGLIANO,  GIOVANNI  BATTISTA. 
About  1460-15 17.  Venetian  School. 

Pupil  and  follower  of  Alvise  Vivarini,  influenced  slightly 
by  Bartolomeo  Montagna,  and  greatly  influenced  by 
Giovanni  Bellini. 

9 Virgin  and  Child. — Copy. 

The  Virgin,  standing,  supports  the  nude  Infant  Jesus, 
who,  His  arms  crossed  on  His  breast,  stands  in  front  of 
her  on  a parapet.  His  hair  is  very  curly.  The  Virgin  wears 
a brick-red  robe  trimmed  with  gold  bands,  and  a blue 
mantle.  A yellow  scarf,  under  which  is  a white  one,  falls 
from  her  head  across  her  left  shoulder  and  drapes  her 
waist.  A landscape  of  blue  sky,  rocks,  trees,  houses,  and  a 
winding  stream  forms  the  background. 

The  picture  is  an  exact  copy  of  one  by  Cima  da  Conegli- 
ano  in  the  Pinacotheca  in  Bologna,  with  the  difference 
that  in  the  original  a tympanum  above  the  picture  con- 
tains God  the  Father  and  two  cherub  heads  among  clouds. 

■'■Reproduced  in  Heyck,  Edward:  Die  Mediceer. 

l6 


THE  HOLDEN  COLLECTION 


The  technique  of  this  copy  does  not  seem  earlier  than  the 
Eighteenth  century.  It  is  signed  exactly  like  the  original. 

Wood'.  13y6  inches  high;  20  inches  wide. 

COSIMO,  PIERO  DI,  1462-1521,  School  of.  Florentine 

School. 

10  Virgin  With  Child  and  Angels. 

The  Virgin,  seated,  clasps  in  her  arms  the  Infant  Jesus, 
who,  Elis  arms  round  her  neck,  His  cheek  against  hers, 
stands  on  a cushion  in  her  lap.  The  Madonna’s  robe  is  red 
and  harmonizes  well  with  the  blue-green  mantle  which 
just  touches  her  shoulders,  but  envelops  the  lower  part  of 
her  body;  a transparent  veil  covers  her  head  and,  falling 
to  her  shoulders,  is  held  by  a striped  scarf  which  encircles 
her  bodice;  her  sleeves  are  slit,  showing  a fullness  of  lace. 
A red,  figured  curtain  fills  the  background.  On  either  side 
of  the  Virgin  is  an  angel  in  adoration.  The  style  of  their 
dress  is  similar;  the  lower  part  of  their  sleeves  is  slashed 
and  filled  in  with  soft  white  lace,  and  each  wears  a large 
jeweled  breastpin  and  a striped  girdle.  The  dress  of  the 
angel  on  the  right  is  brown  brocade  with  the  lower  sleeves 
of  dark  rose;  the  dress  of  the  angel  on  the  left  is  dark 
green. 

Wood.  Oil.  Round,  34!  inches  high;  33I  inches  wide. 

COSIMO,  PIERO  DI,  1462-1521,  School  of. 

11  Virgin  and  Child  With  Saint  John  and  Angels. 

The  Virgin  supports  the  Infant  Jesus,  who  stands  upon  a 
table  beside  which  she  is  standing.  Her  dark  red  dress  is 
covered  by  a blue-green  mantle,  and  her  head  and  shoulders 
are  encircled  by  a blue  scarf  which  the  Infant  holds  with  one 
hand  while  He  caresses  His  mother’s  hand  with  the  other. 
On  either  side  is  an  angel  in  adoration;  the  one  at  the  right 
wearing  a light  brown  dress  with  blue  upper  sleeves;  the 
one  at  the  left  in  a green  robe  with  sleeves  of  light  brown 
and  a red  mantle  which  falls  from  the  left  shoulder.  Below 
the  Christ  Child  stands  Saint  John  in  adoration,  against 
his  shoulder  a cross,  the  symbol  of  Christ’s  death.  In  the 
background  is  a landscape  well  interpreted  and  with  good 
perspective. 


17 


THE  CLEVELAND  MUSEUM 


The  picture  portrays  a charming  and  touching  scene  that 
does  not  appear  in  painting  before  the  Fifteenth  century 
and  that  was  delightfully  interpreted  by  Raphael  in  his 
pictures  at  the  Louvre,  La  Belle  Jardiniere,  The  Holy 
Family  of  Francis  I,  and  La  Vierge  au  Diademe  Bleu. 

Wood.  Oil.  Round,  37I  inches  high;  362  inches  wide. 

CREDI,  LORENZO  DI,  1459-1539.  Florentine  School. 

12  Virgin  and  Child.  {See  illustration.) 

The  Virgin,  seated  against  a square  column  from  which  is 
suspended  a draped  curtain,  and  on  either  side  of  which 
can  be  seen  a distant  landscape  of  fine  chiaroscuro,  holds 
the  Infant  Jesus  on  a cushion  on  her  knee.  She  wears  a 
low-cut,  brick-red  dress  with  a blue-gray  belt,  and  a dark 
blue-green  mantle  lined  with  pale  green,  which  falls  from 
her  arms  and  covers  her  lap  and  knees.  Her  shoulders  are 
enveloped  by  a scarf  thrown  over  her  head  and  coquet- 
tishly  caught  at  the  back.  The  Infant  stretches  out  His 
arms  to  take  His  mother’s  breast,  which  the  Virgin  is  pre- 
paring to  give  Him,  while  she  observes  Him  with  gravity, 
having  a premonition,  perhaps,  of  the  fate  that  awaits 
Him.  The  Child  is  completely  nude  and  very  plump.  This 
is  a characteristic  of  all  of  Credi’s  children. 

It  is  a charming,  intimate  scene,  far  removed  from  the 
Middle  Ages  and  the  representations  of  that  time.  The 
figures  have  points  of  resemblance  to  the  Virgin  and  In- 
fant Jesus,  Saint  John  the  Baptist  in  Adoration,  and  The 
Angels  of  the  Uffizi  in  Florence.1 

Wood.  31  inches  high;  2iJi  inches  wide. 

FILIPPO  DA  VERONA,  Sixteenth  Century.  Italian 

School. 

Pupil  of  Titian;  a painter  in  the  manner  of  Giovanni  Bel- 
lini. 

13  Virgin,  Child,  and  Saints. 

A dark  green  curtain  forms  the  right  background,  a land- 
scape with  houses  and  trees,  the  left.  The  Virgin,  wearing 
a blue-green  mantle,  a red  robe  with  a gold  band  round 
the  neck,  and  a scarf  on  her  head,  holds  the  Infant  Jesus. 

1 Ferrigni,  Mario:  Madonne  Florentine. 

18 


THE  HOLDEN  COLLECTION 


Though  a child  in  modeling,  He  is  of  grave  expression. 
Saint  Anne,  in  dark  brown,  with  a blue  mantle  lined  with 
orange,  and  a yellow  scarf  on  her  hair,  caresses  the  head  of 
the  Infant,  while  below,  John  the  Baptist,  who  looks  out 
at  the  spectator,  bears  the  cross,  the  symbol  of  the  Pas- 
sion. Behind  the  Virgin  is  a female  saint;  at  her  right  a 
male  saint,  and  in  the  lower  left-hand  corner,  in  a close- 
fitting  green  garment,  Saint  Joseph  sits  in  the  traditional 
fashion.  Joseph,  who  is  bald  and  has  a short  beard,  wears 
an  orange  mantle.  The  saint  on  his  left  has  long  hair,  beard 
and  moustache. 

The  Virgin  is  not  alluring  like  the  Virgins  of  the  Middle 
Ages;  she  looks  like  a rich,  well-dressed  bourgeoise.  The 
Saint  Anne,  with  her  grave  and  mild  expression,  is  remin- 
iscent of  Bellini,  both  in  the  interpretation  of  her  face  and 
figure,  and  in  the  manner  in  which  the  scarf  is  draped  on 
her  head  and  shoulders. 

Saint  Joseph,  old  and  gray,  is  painted  more  in  the  spirit 
of  the  earlier  traditions,  and  represents  well  his  type  as 
portrayed  at  the  end  of  the  Fourteenth  century  and  during 
the  early  Fifteenth  century. 

Wood.  3 of  inches  high;  46!  inches  wide. 

FIORENTINO,  PIER  FRANCESCO.  Florentine  School. 
Active  in  the  last  three  decades  of  the  Fifteenth  century. 
Pupil  possibly  of  Fra  Angelico  or  Benozzo  Gozzoli;  in- 
fluenced by  Neri  di  Bicci— Great  imitator  of  Fra  Filippo 
Lippi  and  others. 

14  Madonna  Adoring  The  Child,  Attended  By  Angels. 
{See  illustration.) 

The  Virgin,  who  is  kneeling  on  a bed  of  flowers  in  the 
midst  of  which  is  an  open  prayer  book,  adores  the  Infant 
Jesus.1  He,  supported  by  two  angels,  behind  whom  a third 
is  seen  in  an  attitude  of  adoration,  holds  out  His  arms  to 
His  mother,  while  the  Holy  Ghost,  in  the  form  of  a dove, 
sends  rays  of  light  upon  Him. 

The  background  shows  a landscape  in  the  manner  of  Fra 
Filippo  Lippi.  In  the  far  distance  there  are  houses  covered 
with  red  tile  roofs. 

1 This  kneeling  attitude  of  the  Virgin  before  the  Christ  Child  does  not  appear  before  the 
end  of  the  Fourteenth  century,  its  introduction  very  likely  having  come  through  the  mystery 
plays,  influenced  by  San  Bonaventura's  Meditation  on  the  Life  of  Jesus. 

19 


THE  CLEVELAND  MUSEUM 


The  Virgin  wears  a full  blue  mantle  with  a gold  border,  in 
the  fashion  of  the  period.  A veil  covers  her  head,  back  of 
which  is  a nimbus.  She  lacks  the  charm  and  youth  of  the 
Virgin  of  Fra  Angelico  or  Perugino,  but  impresses  the  spec- 
tator by  the  seriousness  of  her  expression.  The  angels, 
dressed  like  pages  of  the  Fifteenth  century,  with  crowns  of 
flowers  on  their  heads,  are  very  plebeian  types,  but  have 
a simple  and  naive  air. 

They  are  far  removed  from  the  beautiful  angels  of  Fra 
Angelico  or  of  the  Gothic  cathedrals. 

In  spite  of  many  defects  in  the  drawing,  obviously  Pier 
Francesco  Fiorentino  was  inspired  in  this  picture  by  Fra 
Filippo  Lippi.  The  type  of  the  Virgin  is  the  same  as  that  in 
his  Annunciation  in  the  Church  of  San  Lorenzo  in  Flor- 
ence, but  she  appears  older;  and  the  angels,  notwith- 
standing their  incorrect  drawing,  are  done  in  his  spirit. 
The  landscape,  too,  is  very  much  inspired  by  his  Nativity, 
also  in  the  Academy  of  Fine  Arts,  Florence.  See  his  An- 
nunciation and  the  Coronation  of  the  Virgin  in  the  Acad- 
emy of  Fine  Arts,  Florence.  There  is  a picture  quite  similar 
to  this  by  Pier  Francesco  Fiorentino  in  the  Stadel  Art  In- 
stitute in  Frankfort-am-Main.  The  difference  consists  in  a 
different  treatment  of  background  and  in  some  slight 
changes  in  the  garments  and  in  the  expression  of  the  faces. 

Wood.  30!  inches  high;  2 if  inches  wide. 

FLEMISH  SCHOOL.  Fifteenth  century. 

15  Portrait  of  A Florentine  Doctor.  (See  illustration .) 

A middle-aged  man  is  seated  against  a curtain  suspended 
from  a white  wooden  shelf  on  which  are  a drug-pot  (alba- 
rello)  and  other  objects.  He  wears  a loose,  dark-green 
mantle  with  wide,  flowing  sleeves,  an  undergarment,  the 
collar  of  which  is  edged  with  a band  of  lur,  and  a red  head- 
dress, which  falls  in  a broad  fold  over  his  ears  down  to  his 
hands. 

This  is  an  admirable  example  of  the  realistic  portraits  of  the 
Fifteenth  century,  in  which  the  painters  endeavor  to  por- 
tray the  personality  of  the  individual.  The  firm  set  of  the 
mouth  indicates  a feeling  of  self-importance;  and  the 
thoughtful  eyes  and  the  deep  ridges  between  them,  habit- 
ual mental  effort.  The  hands  are  admirably  treated  in  the 


20 


THE  HOLDEN  COLLECTION 


yy*  >/>>*$ 

characteristic  Flemish  manner,  as  are  also  the  ridges 
around  the  eyes,  the  corners  of  the  mouth,  and  all  the 
accessories.  The  picture  was  formerly  ascribed  to  Domen- 
ico Ghirlandaio,  but  Mrs.  Berenson  attributes  it  to  Justus 
of  Ghent,  assigning  it  to  the  series  of  portraits  from  Duke 
Federigo  Montefeltro’s  library  in  Urbino,  of  which  thir- 
teen examples  are  in  the  Louvre  and  several  in  the  Barber- 
ini  palace  in  Rome.1  It  is  doubtful  whether  Mrs.  Beren- 
son’s  attribution  can  be  accepted,  since  a comparison  of 
this  portrait  with  pictures  attributed  to  Justus  of  Ghent,2 
shows  no  resemblance  to  them;  while  it  is  likely  that  it 
was  painted  by  one  of  the  many  Flemish  artists  who  inun- 
dated Italy  in  the  Fifteenth  century,  bringing  with  them 
their  own  style  of  portraiture,  a theory  which  the  Italian 
costume  supports. 

Wood.  Oil.  23!  inches  high.  17!  inches  wide. 


\ . 
ftfeite-'I-evv 


ITALIAN  SCHOOL.  Late  Fourteenth  century. 

16  Madonna  Suckling  The  Child,  and  The  Temptation 

of  Eve.  (See  illustration .) 

The  picture  is  divided  into  two  parts.  In  the  upper  part, 
on  a golden  background,  the  Madonna,  in  a red  robe  cov- 
ered by  a dark,  loose  mantle,  dashed  with  gold,  is  en- 
throned with  the  Child.  Angels  are  in  adoration.  The 
nimbus  of  the  Virgin  is  surrounded  by  twelve  stars  in  re- 
lief, in  each  a miniature  apostle’s  head;  and  in  the  upper 
left  corner  appears  the  sun.  The  Infant,  swaddled  in  yellow 
cloth,  which  exposes  His  square  shoulders  and  His  toes, 
has  a round  head  and  wide-open  eyes.  He  holds  His 
mother’s  breast  ready  to  nurse.3 

To  the  left  of  the  Virgin,  in  adoration,  is  an  angel,  in  a 
flowing  cream-colored,  robe,  strewn  with  flowers;  to  the 
right,  Saint  George,  in  a brown  robe  tied  around  the  waist, 
and  bearing  a shield  and  sword.  Above  him  is  Saint 
Michael,  who  wears  a red  robe,  and  a scarf  that  falls  from 

1 Rassegna  d’Arte,  January  1907,  p.2. 

2 See  Schmarsow,  August:  Joos  van  Gent  und  Melozzo  da  For/i. 

3 The  representation  of  the  Madonna  nursing  the  Christ  Child  was  known  in  the  Cat- 
acombs of  Priscille,  in  the  Second  century,  but  was  gradually  superseded  by  the  Madonna 
triumphant.  This  theme  again  was  supplanted  by  the  more  human  representations  in  the  French 
cathedrals  in  the  Thirteenth  century.  The  inspiration  of  the  human  Madonna  may  have  come 
through  the  French  ivories.  See  Michel,  Andre':  Histoire  de  l' art,  T z,  p.874. 


21 


THE  CLEVELAND  MUSEUM 


his  shoulder  and  is  draped  round  his  waist.  In  his  left 
hand  he  holds  a scale  symbolizing  the  weighing  of  the 
souls  at  the  Last  Judgment;  in  his  right  hand,  a sword. 
Nimbi  are  behind  the  heads  of  the  saints  and  angel.  In  the 
lower  right  corner  is  a red  shield  on  which  appears  a coat- 
of-arms,  a wing  below  a star  in  what  was  once  a silver  leaf.1 
Separated  from  the  upper  part  of  the  picture  by  a painted 
band,  in  figured  relief,  is  the  gradino.  On  a bed  of  flowers 
reclines  Eve,  with  her  wavy  blond  hair  falling  about  her. 

A serpent  with  a human  head  is  tempting  her  with  the  for- 
bidden apple,  which  she  is  about  to  taste. 

The  upper  part  of  the  work  is  largely  in  the  Byzantine 
manner  with  the  exception  of  the  head  of  the  Mother  and 
the  expression  of  the  Child,  while  in  the  lower  part  the  in- 
spiration seems  quite  different,  Eve’s  pose,  as  well  as  the 
modeling,  suggesting  the  Renaissance. 

Mr.  Jarves  believed  the  work  to  be  that  of  Giotto.  Mrs. 
Berenson2  says  the  picture  is  of  the  early  Sienese  School 
with  traces  of  the  influence  of  Bartolo  di  Fredi.  In  the 
Saracina  Collection  at  Siena  is  a figure  of  Eve  by  Paolo  di 
Giovanni  Fei,  similar  to  this  one.  In  Dr.  Siren’s  opinion, 
the  painting  is  by  Francescuccio  Ghissi,3  while  Mr. 

F.  J.  Mather  believes  it  to  be  virtually  a replica  by  Andrea 
da  Bologna,  of  his  picture  in  the  Church  of  Sant’  Agostino 
at  Pausula.4  Bologna’s  Virgin  is,  in  fact,  similar  to  this 
one.  The  Child  has  almost  the  same  pose  and  is  treated  in 
the  same  manner,  but  the  Virgin’s  head  in  this  collection 
is  much  more  attractive.  There  is  no  Eve  in  Bologna’s 
picture. 

Wood.  Tempera.  7 5T5s  inches  high;  383-  inches  wide. 

FLORENTINE  SCHOOL.  Fifteenth  century. 

17  Horse  Race  in  the  Streets  of  Florence.  A Cassone 

Front.  {See  illustration .) 

In  this  interesting  picture  the  usual  religious  theme  has 

1 The  coat-of-arms  has  been  ascribed  to  the  Alighieri  family,  but  Mr.  Bryson  Burroughs 
thinks  that  it  may  have  belonged  to  a collateral  branch  of  the  house  of  Bevilacqua  of  Verona. 
See  Bulletin  of  The  Metropolitan  Museum  of  Art,  Oct.  1912. 

2 Rassegna  d'Arte.  January  1907. 

3 Bulletin  of  The  Metropolitan  Museum  of  Art,  October  1912. 

4 Reproduced  in  Venturi:  Storia  dell ’ Arte  Italiatta,  Vol.V,  p.944. 


22 


THE  HOLDEN  COLLECTION 


given  place  to  a subject  taken  from  civil  life.1  The  great 
charm  and  variety  in  movement  show  the  vivid  imagina- 
tion of  the  artist. 

The  background  discloses  houses  with  arched  windows, 
decorated  with  banners  and  rugs,  flower-pots,  and  a 
branch  of  tree  stuck  in  the  wall  in  honor  of  the  occasion 
upon  which  the  race  was  given.  People  are  standing  in  ex- 
cited groups  in  front  of  the  houses  and  leaning  from  the 
windows,  their  gestures  revealing  their  intense  interest.  At 
the  extreme  left  is  a platform  on  which  appear  two  heralds 
blowing  trumpets;  while  two  other  persons  are  raising  a 
large  gold  banner  with  a border  of  fleur-de-lys.  The  horses 
and  their  riders  show  splendid  animation  and  movement. 
One  horse  has  fallen  and  two  are  riderless.  The  costumes 
are  characteristic  and  enhance  the  interest  of  the  picture, 
which  is,  in  all  its  details,  representative  of  the  fashion  of 
the  time.  Scarlet  is  freely  used,  perhaps  to  emphasize  the 
spirit  of  gaiety. 

Wood.  1 6\  inches  high;  54!  inches  wide. 

FLORENTINE  SCHOOL.  Middle  of  the  Fifteenth  cen- 
tury. 

18  Saint  Francis  Receiving  the  Stigmata. 

Saint  Francis,  kneeling,  receives  the  stigmata  emanating 
from  the  Christ,  who  appears  nailed  to  a cross  floating  in  the 
sky.  The  body  of  Jesus,  emitting  rays  of  light,  is  enfolded 
in  red  wings.  To  the  left  of  Saint  Francis  is  his  disciple, 
Leo,  on  whose  knees  rests  an  open  prayer  book,  the  read- 
ing of  which  has  been  suddenly  interrupted  by  the  celestial 
light  which  comes  from  above.  The  movement  of  his  hands 
and  his  countenance,  which  expresses  mingled  astonish- 
ment and  adoration,  is  directed  toward  the  apparition  of 
Christ.  Saint  Francis  and  his  companion  are  clothed  in  the 
gray  garb  of  the  order.  The  landscape  is  composed  of  huge 
gray  rocks,  in  the  foreground  of  which  are  two  small 
houses  with  a row  of  bright  green  trees  behind  them. 

1 Subjects  of  civil  life  were  first  represented  in  the  Books  of  Hours.  One  of  the  most  cu- 
rious representations  of  this  kind  may  be  seen  in  the  Tr'es  Riches  Heures  du  Due  de  Berry , 
illuminated  in  the  Fourteenth  century,  in  Chantilly,  in  which  a calendar  represents  the  oc- 
cupations or  pleasures  of  every  month. 


23 


THE  CLEVELAND  MUSEUM 


This  subject,  a favorite  with  many  artists  in  the  Four- 
teenth and  Fifteenth  centuries,  is  painted  very  much  in 
the  spirit  of  Giotto. 

Wood.  Tempera.  81  inches  high;  12-f  inches  wide. 

ITALIAN  SCHOOL.  Late  Fifteenth  century. 

19  Pope  Sixtus  IV.  {See  illustration.') 

Against  a landscape  background  the  Pope  is  seated,  hold- 
ing his  right  hand,  on  which  there  are  four  rings,  in  an  atti- 
tude of  benediction.  Over  a white  surplice,  clasped  by  a 
studded  morse,  he  wears  a richly  embroidered  brown  cope 
with  elaborately  jeweled  borders.  His  white  tiara  is  en- 
circled by  three  jeweled  crowns. 

Mrs.  Berenson  thinks  that  like  the  Florentine  Doctor  (No. 
15),  this  portrait  is  by  Justus  of  Ghent.  It  is  not,  however, 
possible  that  the  two  portraits,  which  are  so  different  in 
execution,  were  done  by  the  same  artist.  The  work  was 
undoubtedly  influenced  by  Flemish  art,  as  is  apparent  in 
the  fine  details  of  jeweled  setting  and  rich  embroidery,  and 
the  costume  is  very  like  those  attributed  to  Justus  of 
Ghent,  especially  in  the  portraits  of  Saint  Gregorius  and 
Saint  Ambrosius  of  the  Barberini  palace,  and  the  Saint 
Augustine  in  the  Louvre,1  but  the  modeling  of  the  head 
and  hands,  however,  is  done  in  a quite  different  style. 
The  probability  is  that  an  Italian  painter  influenced  by 
Justus  of  Ghent  did  the  work.2  The  manner  is  suggestive 
of  Melozzo  da  Forli3  but  the  technique  is  of  a later  period, 
and  may  have  been  by  a follower  of  his  school. 

Canvas.  Oil.  27-f  inches  high;  20I  inches  wide. 

FLORENTINE  SCHOOL. 

20  Annunciation. 

The  pillars  of  a cloister  are  in  the  background.  On  the 
floor  is  a red  rug.  An  angel,  garbed  in  a red  tunic  and  a 
green  mantle,  kneels  before  the  Virgin,  who  is  seated  in  an 
armchair  with  an  open  prayer  book  on  the  bench  beside 

1 Pictures  reproduced  in  Schmarsow:  Joos  t>an  Gent,  und  Melozzo  da  Forli,  Taf.  6,8,9. 

2 There  is  in  the  Louvre  a portrait  of  Sixtus  IV  attributed  to  Justus  of  Ghent  very  sim- 
ilar to  this,  but  the  execution  shows  an  earlier  period. 

3 See  L' Opera  dei  Grandi  Artisti  Italiani  Raccolta  da  Corrado  Ricci.  T.  2,  Melozzo 
da  Forli. 


24 


THE  HOLDEN  COLLECTION 


her,  and  who  looks  beyond  the  angel  with  surprised,  soul- 
ful eyes.  Her  dress  falls  in  simple  folds  and  her  dark  blue 
mantle  is  lined  with  ermine.  The  Holy  Spirit  in  the  form 
of  a dove,  sends  rays  of  light,  on  which  are  inscribed  the 
words,  ECCE  ANCILLA  DNI,  in  the  direction  of  the 
Virgin. 

The  picture,  which  is  certainly  a copy,  has  the  spirit  and 
the  simplicity  of  the  earliest  representations  of  the  An- 
nunciation, but  the  technique  seems  to  be  of  the  Sixteenth 
century. 

Canvas.  Oil.  361V  inches  high;  48I  inches  wide. 

ITALIAN  SCHOOL.  Sixteenth  century. 

21  Virgin  and  Child  Seated  in  a Niche. 

The  Virgin  is  seated  in  a niche,  while  on  her  knee  the 
Infant  Jesus  holds  her  hand  with  His  left  hand,  and  gives 
the  benediction  with  His  right.  Around  His  body  is  a scarf. 
The  Infant,  although  a real  child  in  the  structure  of  Elis 
body,  expresses  in  His  looks  the  gravity  of  His  future 
destiny.  The  Virgin,  who  has  a gray  fichu  on  her  head 
which  exposes  her  soft  brown  hair,  is  dressed  in  a red  robe 
with  puffed  upper  sleeves,  the  lower  part  being  cream-color 
and  slashed  to  show  a fullness  of  soft  white  material.  Her 
mantle,  which  has  fallen  from  her  shoulders  and  covers 
the  lower  part  of  her  body,  is  of  blue  green.  The  costume  is 
of  the  fashion  of  the  time,  and  the  colors  can  be  seen  in 
many  contemporary  pictures,  especially  in  those  of  Raph- 
ael. It  is  not  probable  that  the  picture  was  painted  later 
than  the  first  half  of  the  Sixteenth  century.  The  Virgin  is 
neither  the  type  represented  in  the  Middle  Ages  nor  the 
realistic  type  of  Titian’s  period,  but  is  idealized  in  the 
manner  of  Fra  Bartolommeo  and  Raphael. 

Wood.  23I  inches  high;  17A-  inches  wide. 

ITALIAN  (NORTH)  SCHOOL.  Sixteenth  century. 

22  Portrait  of  Robert  Castiglione. 

A man  with  a very  expressive  face,  a long  white  beard,  and 
white  hair,  stands  facing  three-quarters  to  the  left.  He 
wears  a high  cap,  a mantle  with  a large  fur  collar  and  a 
frill  of  lace  around  his  wrists.  His  right  hand,  finely  mod- 
eled, with  a ring  on  the  little  finger,  holds  the  fur  trimming 

25 


THE  CLEVELAND  MUSEUM 


of  his  mantle;  his  left,  gloved,  holds  a prayer  book  and  the 
glove  of  his  right  hand.  His  arm  rests  against  a sword-hilt. 

In  the  upper  left-hand  corner  is  a red  shield,  a lion  argent, 
supporting  with  his  dexter  paw  a castle  of  three  towers 
gold,  the  coat-of-arms  of  the  Castiglione  family  in  Milan;1 
and  on  the  bottom  is  the  following  inscription:  ROB- 
ERTOS CASTILLIONEUS  CREMONzE  PRETOR 
ET  IMPERIALS  VICARIUS  AN  D MCCXXXXVI. 
The  picture  is  in  the  manner  of  Titian,  especially  in  the 
treatment  of  the  hands  and  the  garments. 

Canvas.  Oil.  47^  inches  high;  38^  inches  wide. 

ITALIAN  SCHOOL.  Seventeenth  century. 

23  Portrait  of  a Roman  Lady. 

Dark  brown  background.  A woman,  with  an  interesting 
and  well-proportioned  head,  wears  a dark  bodice,  very 
decollete,  filled  in  with  soft  white  lace,  a white  frill  around 
her  wrist,  and  a white  scarf  which,  gracefully  draped, 
covers  her  head  and  shoulders  but  shows  her  throat  and 
the  right  side  of  her  bosom.  The  folds  of  the  drapery  are 
skilfully  executed.  The  right  hand  is  well-formed  and  rests 
on  a book  which  lies  on  a parapet. 

The  picture  is  executed  in  good  style  and  seems  to  be  of 
the  first  half  of  the  Seventeenth  century. 

Canvas.  23 \ inches  high;  28!  inches  wide. 

ITALIAN  SCHOOL.  Seventeenth  century. 

24  Portrait  of  Pope  Innocent  X. 

Against  a black  background,  seen  to  just  below  the  elbows, 
sits  Pope  Innocent  X,  with  his  face,  on  which  is  a mild  ex- 
pression, slightly  turned  to  the  right. 

He  has  blue  eyes,  a thin  gray  moustache  and  beard.  Only 
the  left  ear  is  visible  and  that  is  finely  modeled.  He  wears 
a red  hood  and  cape,  having  a white  fur  border  and  a 
white  collar.  This  portrait  is  certainly  inspired  and  almost 
copied  from  Velasquez’s  Portrait  of  Innocent  X,  which 
was  reproduced  and  imitated  frequently.  This  famous 
original  is  in  the  Doria  palace  in  Rome  and  the  prelimi- 

1 Very  probably  there  was  a branch  of  this  family  in  Cremona  with  the  same  arms.  See 
Litta:  Famig/ie  Celebri  Italiane.F .III,  for  the  genealogy  of  the  Castiglione  Family. 

26 


THE  HOLDEN  COLLECTION 


nary  study  for  it  is  in  the  Hermitage  in  Saint  Petersburg. 
Mrs.  Gardner’s  portrait  is  very  like  the  well-known  por- 
trait in  the  Wellington  collection1  which  has  been  ques- 
tioned as  to  its  authenticity  yet  is  considered  genuine  by 
many  critics.  When  comparing  our  painting  with  the 
great  masterpiece  in  Rome  its  weakness,  which  may  be 
due  to  re-painting,  becomes  apparent.  The  eyes,  the 
cheeks,  the  nose,  the  forehead  just  above  it,  and  the 
mouth,  all  show  unmistakable  traces  of  having  been  re- 
painted. 

Canvas.  Oil.  T~j\  inches  high;  21^  inches  wide. 


LANZANI,  POLIDORO,  1515-1565.  Venetian  School. 
Follower  of  Titian  and  influenced  by  Bonifacio  and  Por- 
denone,  later  by  Paul  Veronese. 

Death  of  The  Virgin. 

The  Virgin,  clothed  in  a dark  red  robe  and  black  cloak, 
with  folded  hands  and  a peaceful  expression,  is  lying  on  a 
bier.  Numerous  figures  with  tragic  expressions  and  varied 
attitudes  and  costumes  stand  about  her,  a man  in  the 
foreground  holding  a corner  of  the  white  sheet  which 
covers  her  bier.  The  whole  tone  of  the  picture  is  dark.  The 
drawing  and  grouping  are  interesting. 

This  picture,  which  comes  from  the  Gino  Capponi  Gallery 
in  Florence,  has  been  ascribed  to  Tintoretto,  but  it  seems 
more  properly  to  be  ascribed  to  Polidoro  Lanzani.  There 
are  resemblances  here  to  his  figures  in  the  Santa  Conver- 
sazione in  the  Massarenti  Collection  in  Rome. 

The  carved  wood  frame  is  extremely  interesting  and  is  in 
the  style  of  the  period;  upon  it  appears  God  the  Father, 
with  His  right  hand  resting  on  the  terrestrial  globe,  and 
with  cherubim  and  putti  around  Him.  On  each  side  an 
angel  stands  in  a graceful  attitude,  and  below  are  two 
figures  very  decoratively  posed.  The  modeling  is  in  high 
relief  and  accords  with  the  general  design  of  the  picture 
astonishingly  well. 

Wood.  14b  inches  high;  41b  inches  wide. 

1 Beruette,  A.  de;  Velasquez,,  p.  88. 


27 


THE  CLEVELAND  MUSEUM 


LUINI,  BERNARDINO,  about  1475-1532.  Milanese 
School. 

Pupil  probably  of  Borgognone,  influenced  by  Bramantino, 
and  Leonardo. 

26  Virgin  and  Infant.  {See  illustration .) 

The  Virgin,  wearing  a red  robe  showing  a white  under- 
habit, a blue-green  mantle,  and  a transparent  veil,  which 
covers  her  hair  and  falls  over  her  shoulders,  is  seated 
against  a green  background  holding  the  Infant  Jesus  in 
her  arms.  Holding  a flower  in  Elis  right  hand,  and  with 
the  other  grasping  the  ends  of  a scarf  which  partly  cov- 
ers Him,  He  looks  smilingly  at  His  mother,  who,  unclasp- 
ing her  dress  about  to  nurse  Him,  smiles  back.  The  figure 
of  the  Child  is  attractive  in  pose,  expression,  and  model- 
ing, and  the  entire  composition  has  a gracious  atmosphere 
of  motherhood. 

The  picture  is  characteristic  of  Luini’s  manner.  The  head 
of  the  Virgin  strongly  resembles  his  Madonna  types;  its 
similarity  to  the  head  of  the  Virgin  in  the  National  Mu- 
seum at  Naples  is  striking.  The  expression  round  the  eyes 
is  very  like  that  in  his  Salome.  The  Child  has  the  head  and 
smile  of  the  Infant  in  Saint  Catherine  Reading,  in  the 
Hermitage,  Saint  Petersburg;  His  pose,  with  slight  differ- 
ences, is  like  that  of  the  Infant  in  the  Virgin  and  Child 
in  the  Brera,  Milan. 

Wood.  2ii  inches  high;  161T  inches  wide. 

LUINI,  BERNARDINO,  about  1475-1532. 

27  Salome  with  the  Head  of  Saint  John.  {See  illustration. ) 
Salome,  dressed  in  a costume  of  brocaded  rose  material,1 
cut  low,  disclosing  a soft  white  guimp  opened  slightly  in 
front  and  held  together  by  a narrow  ribbon  bow,  holds  a 
chased  silver  dish  into  which  the  executioner  is  about  to 
drop  the  head  of  John  the  Baptist.  Her  face,  which  is 
turned  toward  a maid  behind  her,  shows  a dreamy,  medi- 
tative expression  suffused  with  one  of  triumph.  The  fero- 
cious joy  in  the  countenance  of  the  executioner  is  empha- 
sized by  the  look  of  resignation  on  the  dead  face  of  Saint 
John  who  has  suffered  for  his  faith. 

1 On  the  border  of  the  bodice  is  printed  the  name,  Leonardo  da  Vinci,  1 494.  It  was  prob- 
ably put  there  at  a later  date,  and  has  no  real  significance. 

28 


THE  HOLDEN  COLLECTION 


The  influence  of  Leonardo  is  very  apparent  in  the  woman’s 
head,  especially  in  the  treatment  of  the  corners  of  her  eyes 
and  her  mouth,  and  also  in  her  hands. 

The  picture  is  similar  to  one  of  the  same  subject  in  the 
Ufflzi,1  with  one  exception,  the  arm  of  the  executioner 
who  holds  the  decapitated  head  is  naked  in  the  Ufflzi 
picture.  The  style  of  garment  the  executioner  wears  makes 
the  sleeve  in  this  copy  seem  unnecessary. 

Canvas.  Oil.  i8f  inches  high;  23I  inches  wide. 

MORONI,  GIOVANNI  BATTISTA,  1520-25— 1578. 

Pupil  and  follower  of  Moretto. 

28  Portrait  of  a Gentleman  and  His  Wife.  {See  illustration .) 

The  man,  who  faces  three-quarters  to  the  left,  stands  with 
his  right  hand  on  a book  and  his  left  on  the  hilt  of  a sword. 
He  is  dressed  in  black  velvet,  with  a triple  gold  chain 
around  his  neck,  and  a narrow  jeweled  belt  around  his 
waist;  his  collar  is  high  and  close-fitting,  edged  like  the 
sleeves,  with  a white  frill.  His  hair  is  brown  and  his  blond 
moustache  and  close-cropped  beard  are  very  skilfully 
painted.  His  wife,  wearing  a very  elaborate  black  velvet 
gown  with  white  puffed  sleeves  trimmed  with  gold  pas- 
samenterie,  bracelets,  and  a heavily  jeweled  chain  around 
her  waist,  stands  at  his  side  to  the  right.  Her  left  hand 
rests  on  the  back  of  a chair,  and  the  right  touches  one  of 
the  numerous  chains  about  her  neck.  Above  the  man  is  in- 
scribed: zeta.  swe.  anno,  xxxv,  and  above  the  woman: 

JETA.  SWE.  ANNO.  XXVIIJ. 

The  portraits  are  excellent  examples  of  Moroni’s  work. 
The  man  seems  a finer  type  than  his  wife,  whose  face  is 
somewhat  coarse.  The  hands  of  both  figures,  it  should  be 
noticed,  are  well  modeled  and  there  is  a very  careful  treat- 
ment of  every  detail. 

Canvas.  Oil.  39I  inches  high;  55I  inches  wide. 
PARENZANO,  'BERNARDINO,  1437-1491.  School  of 
Padua. 

Influenced  by  Ercole  Roberti,  Domenico  Morone,  Man- 
tegna, and  Bonsignori. 

29  Procession  from  a Castle. 

A king  with  his  retinue,  all  on  horseback,  is  advancing 
toward  the  left.  Behind  them  is  a castle.  The  background 

1 For  description,  see  Williamson,  George:  " Bernardino  Luini,  p.67. 

29 


THE  CLEVELAND  MUSEUM 


toward  the  right  is  a landscape  with  hills  and  castles  and 
river.  In  the  sky  are  clouds. 

The  picture  is  very  interesting  in  that  it  represents  types 
and  costumes  of  the  period,  and  gives  a good  reproduction 
ol  the  castle.  It  was  formerly  ascribed  to  Squarcione,  but 
has  recently  been  attributed  to  Bernardino  Parenzano,  by 
Mrs.  Berenson,  in  Rassegna  d' Arte.1 

Wood.  Tempera.  2oi  inches  high;  18  inches  wide. 

ROSELLO,  DI  JACOPO  FRANCHI.  Active  in  the  early 
part  of  the  Fifteenth  century.  Florentine  School. 

Virgin  and  Child.  ( See  illustration .) 

The  Virgin,  upon  a figured  cushion  on  a bench,  against  a 
golden  background,  is  seated  with  the  Child  on  her  left 
arm.  The  Infant,  a large  child  with  a grave  expression, 
clasps  His  right  hand  around  her  neck  and  holds  a bird 
in  His  other  hand.  His  right  foot  is  on  His  mother’s  right 
hand,  which  is  long,  with  tapering  fingers.  The  Virgin’s 
mantle  is  black  lined  with  yellow  brocade,  her  bodice 
figured  rose,  and  the  scarf  on  her  head  of  pale  blue,  trim- 
med with  bands  of  conventionalized  design  and  a beaded 
edge.  She  is  not  an  idealized  type;  her  very  natural  round 
face  and  forehead  and  almond-shaped  eyes  have  an  inno- 
cent and  candid  expression,  while  her  pose  is  extremely 
simple.  The  Child  wears  a pale  green  dress  richly  figured, 
over  which  is  a rose  mantle  with  a flower  design  and 
beaded  edge. 

The  pose  of  the  Child  and  the  style  of  His  garment  belong 
to  an  earlier  period;  but  several  details,  such  as  the  hand 
round  the  mother’s  neck  and  the  bird  with  which  He 
plays,  are  signs  of  the  new  era. 

The  picture  was  attributed  by  Mrs.  Berenson  to  Rosello 
di  Franchi.  There  are  in  fact  some  analogies  with  his 
Virgin  Enthroned,2  as  there  are  also  with  the  picture  by 
Lorenzo  Monaco.3 

Wood.  Tempera.  Octagonal  27!  inches  high;  2 i-g-  inches 
wide. 

1 Rassegna  cT Arte,  January  1907. 

2 Reproduced  in  Rassegna  d' Arte,  1905,  p.9. 

3 Gallery  33,  Metropolitan  Museum  of  Art. 

3° 


THE  HOLDEN  COLLECTION 


ROSA,  SALVATORE.  1615-1673.  Neapolitan  School. 
Born  in  Ranella.  Died  in  Rome.  Pupil  of  Fracanzano, 
Falcone  and  Ribera.  He  lived  in  Naples,  Florence,  and 
Rome. 

31  Portrait  of  Himself.  Copy  of  his  picture  in  the  Pitti. 
A very  dark  background;  the  painter  is  seated,  holding  in 
his  left  hand  a palette  with  three  brushes.  He  wears  a dark, 
close-fitting  garment  with  a full  white  triple  collaret.  His 
head,  with  its  mass  of  brown  hair  combed  back  from  a 
high  forehead,  florid  face,  and  red,  sensual  lips,  is  very 
expressive.  The  edges  of  the  lower  lids  of  his  dark  brown 
eyes  are  slightly  puffed  and  inflamed. 

The  portrait  is  a reproduction  of  the  one  in  the  Pitti 
Gallery,  Florence.1  The  countenances  are  identical,  with 
this  difference,  that  the  face  of  the  one  in  the  Pitti  Gallery 
is  even  more  elongated  and  appears  slightly  older  than  the 
face  in  this  copy  and  the  eyes  show  none  of  the  little  swel- 
lings and  reddish  effect  seen  here.  The  drawing  of  the  arm 
and  of  the  garments  is  much  better  and  more  clearly  in- 
dicated in  the  original,  and  the  thumb  which  goes  through 
the  opening  in  the  palette  and  the  ends  of  the  other  fingers 
are  distinctly  seen.  This  copy  may  have  been  retouched. 
The  collar  is  very  exactly  copied. 

Canvas.  Oil.  30!  inches  high;  24!  inches  wide. 

Exhibited  in  Gallery  V. 


ROSA,  SALVATORE,  1615-1673. 

32  Battle  Scene. 

A background  showing  clouds,  flashes  of  sunlight,  rocks, 
and  two  fighting  eagles.  In  the  foreground  are  figures  of 
Roman  soldiers  and  battle  horses.  The  movements  of  the 
soldiers  are  intensely  dramatic,  but  there  is  an  artificial 
and  academic  feeling  in  the  handling.  The  background 
shows  the  artist’s  best  manner,  as  is  the  case  with  many 
decorative  pictures  of  the  Seventeenth  century.  The 
picture  can  be  compared  in  composition  and  execution  to 
the  one  in  the  Louvre  called  “A  Battle  Scene,”  with  two 
in  the  Pitti  Gallery,  Florence,  and  with  several  others. 

Canvas.  Oil.  59  inches  high;  113!  inches  wide. 

Not  Exhibited. 


1 Ozzola:  Vita  e Opere  di  Salvatore  Rosa,  PI. XIV. 


3 1 


THE  CLEVELAND  MUSEUM 


SALVIATI,  IL:  real  name  FRANCESCO  DEI  ROSSI, 
1510-1563,  Attributed  to.  Florentine  School. 

Pupil  and  follower  of  Bronzino,  influenced  by  the  Ve- 
netians. 

33  Portrait  of  Giuliano  De’  Medici.  {See  illustration.') 

Against  the  background  of  a dark  curtain  to  the  right  and 
a landscape  of  trees  and  sky  to  the  left,  stands  the  figure 
of  a young  man  seen  to  below  the  waist.  His  well-formed 
head,  with  its  interesting  expression  and  curly  brown  hair, 
faces  three-quarters  to  the  right.  He  has  on  a loose  black 
coat,  the  lower  sleeves  reddish  brown,  edged  with  frills. 
His  tunic  is  brown,  cut  low,  and  showing  a soft  white 
undergarment.  Both  hands  are  well  modeled;  the  right, 
which  is  in  shadow,  rests  on  a red  bench,  the  left  holds  a 
written  paper. 

The  portrait  does  not  resemble  the  historic  descriptions 
that  we  have  of  Giuliano,  who  is  represented  as  having  a 
large  crooked  nose,  an  ugly  mouth,  and  short  round 
beard.1  Raphael’s  lost  painting2  of  him,  a copy  of  which 
by  Alessandro  Allori,  is  in  the  Uffizi,  accords  with  this 
description.  Here,  also,  the  paper  which  he  holds  in  his 
hand  is  probably  an  allusion  to  his  literary  tastes.  It  is 
very  possible  that  our  portrait  was  influenced  by  the 
statue  of  Giuliano  made  by  Michelangelo,3  who  repre- 
senting him  as  young  and  beardless,  has  given  an  idealized 
rather  than  an  exact  portrait.  Here  the  pose  of  the  head 
and  neck  is  obviously  in  imitation  of  this  statue.  In  Christ 
Church  Collection,  Oxford,  there  is  a drawing  of  Giuliano 
which  also  shows  him  idealized  and  without  a beard. 
Formerly  attributed  to  Sebastiano  del  Piombo,  the  paint- 
ing seems  more  closely  related  to  the  work  of  Salviati.4 

Wood.  Oil.  3 8|  inches  high;  30!  inches  wide. 

1Steinmann:  Geheimnis  der  Medicis  Graeber,  p.  173. 

2Gruyer:  Raphael,  Peintre  de  Portraits,  V. 2,  p.202. 

3 Knapp,  Fritz:  Michelangelo,  p.109;  Brockhans:  Michelangelo  und die  Medici  Kape/le, 

P-52- 

4 See  the  Virgin  in  the  Holy  Family,  reproduced  in  Graphische  Kunste,  I<pi2,  Bei- 
lage  p.  68. 


32 


THE  HOLDEN  COLLECTION 


SAN  SEVERING,  LORENZO  DA.  Died  1503.  Umbrian 
School. 

Pupil  of'Niccolo  d’Alunno  (da  Foligno),  influenced  by 
Crivelli. 


4 34  Madonna  and  Child  with  Saints:  Saint  Mark  and 
Saint  Anthony  on  the  Left,  Saint  Augustine  and  Saint 
Sebastian  on  the  Right.  ( See  illustration.') 

Seated  on  a wooden  throne  before  a golden  background, 
the  Virgin  holds  with  her  left  hand  the  left  foot  of  the 
Infant  Christ,  who  stands  on  His  mother’s  lap.  With  His 
right  hand  in  benediction  He  bends  over  and  holds  out  His 
left  hand  to  Saint  Mark,  who  kneels  in  an  attitude  of 
adoration  at  the  foot  of  the  throne.  Saint  Anthony,  who  is 
above  Saint  Mark,  leans  on  his  left  hand  and  holds  his 
staff  in  his  right.  On  the  other  side  of  the  throne  kneels 
Saint  Augustine,  his  white  mitre  beside  him,  while  above 
him  stands  SaintSebastian  with  hands  folded  in  adoration. 
The  Madonna  is  dressed  in  a rich  brocade  trimmed  with  a 
golden  border.  Her  mantle  is  black,  and  on  her  head  is  a 
white  veil.  The  Child’s  frock  is  rose-colored.  Saint  Mark 
wears  an  ecru  robe  and  a mantle  of  yellow,  Saint  Anthony 
a monk’s  dark  cloak  with  hood.  Saint  Augustine,  who  has 
wavy  blond  hair,  has  on  a figured  red  robe  with  golden 
border,  while  a rose-colored  cap,  with  a feather  in  the 
front,  completes  the  page’s  dress  of  Saint  Sebastian. 
Behind  the  heads  are  golden  nimbi  with  names  of  the 
personages  inscribed. 

The  Virgin  unites  with  charm  a nobility  of  expression  that 
is  marvelously  represented  by  the  artists  at  the  end  of  the 
Fourteenth  century  and  during  the  Fifteenth,  but  after- 
ward lost.  The  Infant,  with  His  winning  expression,  can 
be  regarded  as  an  intermediary  type  between  the  serious 
Infant  who  gives  the  benediction  and  the  Infant  who  so 
sweetly  fondles  His  mother. 

Wood.  Tempera.  56A  inches  high;  33!  inches  wide. 


1 

£ 


A- 


SIENESE  SCHOOL.  Late  Fourteenth  century. 

35  The  Crucifixion.  ( See  illustration.) 

Against  a gold  background  with  a gold  border  of  raised 
rosettes,  such  as  are  often  seen  in  Sienese  paintings,  is  the 


33 


THE  CLEVELAND  MUSEUM 


crucified  Christ.  At  the  foot  of  the  cross  kneels  Mary 
Magdalene  with  flowing  hair.  She  wears  a red  mantle  hav- 
ing a narrow  gold  border.  On  one  side  is  the  Virgin,  in  a 
brown  dress  covered  by  a dark  mantle  that  envelops  her 
head,  and,  like  her  dress,  falls  in  a straight  line  to  her  feet. 
Three  stars  adorn  the  mantle,  one  on  each  shoulder,  and 
one  on  the  head.  Above  the  cross  in  a small  red  space  are 
written  the  Christ  letters,  I N R I. 

A charming  picture,  simply  composed  but  in  the  great 
style.  The  Christ  has  the  calm,  resigned  expression  of  the 
representations  of  the  Fourteenth  century.  The  Virgin 
gazes  before  her,  but  notwithstanding  her  composed  ex- 
terior, shows  signs  of  deep  suffering  in  her  far-off  look. 
Saint  John  and  the  Magdalene  look  up  at  the  Christ  with 
despairing  love  and  longing. 

Wood.  Tempera.  I2i  inches  high;  5!  inches  wide. 

SIENESE  SCHOOL.  Early  Fifteenth  century. 

36  Virgin  and  Child.  ( See  illustration .) 

Against  a golden  background  is  the  Virgin,  with  Jesus  in 
her  arms,  the  Child’s  face  pressed  close  to  hers,  His  hands 
clasping  her  neck.  Two  angels  are  placing  a crown  on  her 
head.  The  Virgin,  dressed  in  the  Byzantine  fashion,  wears 
a red,  figured  mantle  with  a golden  border,  and  her  bodice, 
which  is  disclosed  in  front,  has  a golden  band  around  the 
neck.  The  Child,  in  a long,  faded  green  dress  with  figures 
of  small  golden  flowers,  is  also  dressed  in  the  Byzantine 
fashion.  The  lower  part  of  His  body  is  enveloped  in  a yel- 
low material  with  golden  stripes. 

Treated  absolutely  in  the  Byzantine  manner,  the  picture 
contains  all  sorts  of  details  which  show  that  it  could  not 
have  been  painted  earlier  than  the  end  of  the  Fourteenth 
century  or  the  beginning  of  the  Fifteenth.  The  smiling 
expression  of  the  Child,  as  well  as  the  landscape  with  the 
tree,  indicates  a later  period.  Types  that  approach  this 
picture  are  two  paintings  by  Ambrogio  Lorenzetti,  Vir- 
gin and  Child,  in  the  Academy  of  Siena,  and  Virgin  and 
Child,  in  the  Monastery  of  Siena.1 

Wood.  Tempera.  1 5A  inches  high;  iH  inches  wide. 

1 Jacobsen,  Emil:  Sienesische  Kunstler  der  Trecento.  PI.  15  and  20. 

34 


THE  HOLDEN  COLLECTION 


SODOMA,  IL;  real  name  GIOVANNI  ANTONIO  BAZZI, 
1477-1549,,  School  of.  Lombard  School. 

37  Crucifixion.  {See  illustration.') 

On  the  cross  hangs  the  crucified  Christ.  His  expression 
is  calm,  His  body  well-modeled.  At  the  foot  of  the  cross, 
dressed  in  a blue  robe  covered  by  a red  mantle,  and  with 
flowing  hair,  kneels  Mary  Magdalene.  To  her  right,  Saint 
John,  in  a brown  tunic  and  red  mantle,  stands  with  hands 
outstretched,  sadly  contemplating  the  Christ.  His  feet 
are  bare,  a characteristic  of  the  saints  and  apostles.  On 
the  right  of  the  cf*oss,  her  face  expressing  profound  suffer- 
ing, the  fainting  Virgin  is  supported  by  the  Holy  Women. 
This  group  is  freely  copied  from  Sodoma’s  Descent  from 
the  Cross,  in  the  Siena  Academy.1  The  Virgin  has  on  a 
red  robe  and  a blue  mantle  with  a hood,  and  her  feet  are 
shod,  as  she  is  never  represented  barefooted.  The  woman 
at  the  right  wears  a faded  brown-violet  tunic  and  a green 
mantle;  the  one  at  the  left,  a white  scarf  on  her  head  and  a 
brown  shawl  over  her  shoulders.  The  cut  of  the  clothes  is 
simple,  and  the  way  they  fall  from  the  shoulders  recalls 
Perugino  and  his  school.  The  colors  harmonize  well.  The 
background  panorama,  largely  composed  of  buildings,  is 
in  the  Renaissance  style.  The  sky  is  blue  and  well  treated. 
From  the  standpoint  of  drawing,  composition,  and  tech- 
nique, the  picture  as  a whole  is  ably  handled. 

Canvas.  Oil,  23!  inches  high;  i8i  inches  wide. 

TIEPOLO,  GIOVANNI  BATTISTA,  1696-1770.  Venetian 
School. 

Pupil  of  Gregorio  Lazzarini.  Strongly  influenced  by 
Piazetta,  and  by  the  works  of  Paul  Veronese. 

38  A Sketch  for  a Ceiling. 

Two  angels  are  seen  floating  before  a background  of  light 
greyish-green  sky.  One  of  them  has  two  trumpets,  one 
of  which  he  blows.  Below  are  figures  of  two  women,  one 
looking  up  at  the  angels  as  if  she  heard  the  sound  of  the 
trumpet,  the  other  seeming  to  dream.  To  the  right  of  the 
women  a man  reclines  on  a huge  rock  behind  which  ap- 
pears a sail. 

1Jacobsen,  Emil:  Sodoma  und  das  Cinquecento  in  Siena,  PI.  X.  Mrs.  Berenson  in  the 
Rassegna  d' Arte  mentions  this  resemblance. 


35 


THE  CLEVELAND  MUSEUM 


A beautiful  little  picture,  fully  expressing  Tiepolo’s  style. 
The  foreshortening  of  the  angel,  the  delicate  gradations  of 
color,  the  drawing  of  the  women — every  least  detail  is 
worked  out  in  his  own  particular  manner.  The  idea  may 
have  been  a preliminary  one  for  the  ceiling  executed  about 
1753,  in  the  Rezzonico  palace  in  Venice,  which  represents 
the  Apotheosis  of  Jean  Baptiste  Rezzonico,  father  of  Pope 
Clement  XIII.1  The  group  of  angels  is  almost  identical 
with  the  one  in  this  fresco,  but  the  rest  of  the  picture 
differs  from  it. 

Canvas.  Oil.  i6j  inches  high;  13J  inches  wide. 

VENETIAN  SCHOOL.  Sixteenth  century. 

39  Portrait  of  an  Old  Man. 

Against  a dark  background  stands  the  figure  of  a man, 
seen  to  the  waist,  holding  a pair  of  gloves  and  a note-book 
in  his  perfectly  modeled  hands.  He  wears  a black  tunic 
with  a high,  close-fitting  collar  and  a white  collarette 
under  a great  black  mantle  with  revers.  His  head  is  very 
expressive  and  well  treated.  The  beard,  moustache,  and 
ears  are  done  with  careful  attention. 

This  interesting  portrait  is  very  much  in  the  manner  of 
Tintoretto,  the  color  as  well  as  the  treatment  of  the  head 
and  hands  suggesting  this  opinion. 

Wood.  36I  inches  high;  25!  inches  wide. 

VENETIAN  SCHOOL.  Sixteenth  century. 

40  Preparation  for  The  Crucifixion. 

The  scene  is  at  the  foot  of  a mountain  near  the  city  of 
Jerusalem.  Christ,  wearing  the  crown  of  thorns,  is  being 
stripped  of  His  garments  to  be  crucified,  while  near  the 
cross  stands  a soldier  with  a ferocious  expression,  holding 
a hammer  in  his  right  hand  and  a basket  of  nails  in  his 
left.2  Behind  the  soldier  is  a spectator  who  sympathizes 
with  the  Christ.  On  the  other  side  of  the  cross  are  gath- 
ered four  persons,  one  of  whom,  an  old  man  with  a mous- 
tache and  a long  beard,  who  wears  a mantle  with  a hood, 
points  to  Christ,  while  he  converses  with  a young  man 

1 Molmenti,  Pompeo:  Tiepolo.  P.61,  pi.  45. 

2 Before  the  Fifteenth  century,  the  preparation  for  the  crucifixion  was  not  represented. 
The  theme  first  appeared  in  the  mystery  plays  as  a sequence  in  the  life  of  Christ,  influenced  by 
the  Meditations  of  Bonaventura.  Male:  L' Art  Religieux  de  la  Fin  du  Moyen  Age.  p.29. 

36 


THE  HOLDEN  COLLECTION 


in  a dark  brown  garment  and  red  mantle,  who  also  points 
to  Christ.  The  old  man  is  handing  an  oblong  piece  of 
wood,  on  which  are  written  the  Christ  letters,  I N R I, 
to  the  young  man  near  him,  who  in  turn  looks  at  the  sol- 
dier with  a hammer.  The  old  man  appears  to  be  a portrait 
of  Paolo  Veronese  and  the  man  behind  the  soldier,  of 
Titian.1  Higher  up,  between  the  holy  women,  is  the 
fainting  Virgin.  Spectators  stand  around. 

The  picture  is  eloquent  and  interesting,  the  treatment  be- 
ing distinctly  Venetian,  resembling  in  some  respects  the 
art  of  Veronese. ' 

Copper.  Oil.  21H  inches  high;  18^  inches  wide. 

VENETIAN  SCHOOL.  Sixteenth  century. 

41  The  Woman  Taken  in  Adultery. 

The  background  is  a landscape  in  the  Venetian  manner 
with  blue  sky  and  houses.  Christ,  in  a rose-colored  gar- 
ment, half  kneels,  with  His  right  hand  on  the  ground, 
while,  turning  His  head  to  the  men  behind,  He  points  with 
a finger  of  His  other  hand  to  the  woman  taken  in  adultery. 
The  woman,  in  a blue  and  white  bodice,  cut  low,  looks 
downward  with  an  unhappy,  repentant  expression.  Her 
eyes  and  nose  are  red  as  if  from  weeping.  Around  her 
stand  her  accusers  in  various  poses  and  costumes,  observ- 
ing the  Christ,  waiting  to  hear  the  sentence  He  will  pro- 
nounce. Christ  looks  at  them  as  if  saying,  “He  that  is 
without  sin  among  you,  let  him  cast  the  first  stone.”2 
Canvas.  Oil.  13!  inches  high;  18  inches  wide. 

VERONESE,  PAOLO;  real  name  PAOLO  CAGLIARI, 

1528-1588.  Venetian  School. 

Pupil  of  Antonio  Badile,  formed  under  the  influence  of 
Domenico  Brusasorci. 

42  Marriage  of  Saint  Catherine. — Copy. 

Copy  of  the  painting  in  the  Uffizi,  Florence. 

The  Virgin,  seated,  holds  in  her  lap  the  sleeping  Jesus, 
whose  head  rests  upon  a pillow.  Her  beautiful  face  wears 
a serious,  meditative,  almost  melancholy  expression; 
with  her  left  hand  she  is  closing  her  rose-colored  bodice 
as  if  she  had  just  finished  nursing  the  Child.  A veil  hangs 

1 The  portrayal  of  an  artist  was  frequent  in  the  Renaissance. 

2 John  8:7. 


37 


THE  CLEVELAND  MUSEUM 


from  the  back  of  her  head,  showing  her  brown  hair,  which 
is  parted  in  the  middle.  Saint  Catherine,  with  the  palm 
leaf,  bends  over  the  Infant.  A type  of  the  rich  Venetian 
lady  of  the  period,  she  is  sumptuously  clothed  in  a striped 
silk  dress,  while  her  blond  hair,  arranged  with  strings  of 
pearls  and  jewels,  falls  loosely  down  her  back.  In  the  lower 
right-hand  corner,  each  showing  just  to  the  waist,  stand 
Saint  John  the  Baptist  and  Saint  Joseph;  the  latter  bends 
over  Saint  John,  with  his  left  hand  on  his  shoulder.  Saint 
John  with  his  right  hand  holds  the  left  foot  of  the  sleeping 
Infant,  which  he  kisses;  in  his  other  hand  he  holds  the 
cross. 

This  copy  is  a very  exact  one. 

Canvas.  Oil.  19!  inches  high;  26*  inches  wide. 

VINCI,  LEONARDO  DA,  1452-1519,  School  of.  Floren- 
tine School. 

Virgin  and  Child.  ( See  illustration.') 

Her  head  in  relief  against  a wall,  the  Virgin  is  seated  with 
the  Infant  Jesus  in  her  lap.  She  wears  a purple  robe  and  an 
orange-lined  mantle,  which  is  cut  low  and  clasped  to- 
gether by  a jeweled  pin.  Her  head,  with  its  wavy  dark  hair 
tailing  to  her  shoulders,  is  inclined  to  one  side.  The  eyes, 
half-closed,  give  her  face  a meditative  expression.  The 
Child,  nude  and  finely  drawn,  turns  His  well-modeled 
head  towards  His  mother. 

On  either  side  of  the  wall  behind  the  Virgin’s  head  are  two 
windows  through  which  are  seen  two  fine  landscapes;  on 
the  right,  an  Alpine  lake  scene  with  mountains;  on  the 
left  an  old  castle  with  figures  and  animals  minutely  and 
correctly  drawn. 

This  attractive  picture  was  ascribed  to  Leonardo  da 
Vinci,  in  the  Jarves  catalogue  where  several  authorities 
are  quoted  to  prove  the  attribution,  Cav.  Prof.  Miglirini, 
Director  of  the  Uffizi,  Baron  Gariod  of  the  Turin  Museum, 
Monsieur  Rio,  writer  on  art  and  the  author  of  a Life  of 
Leonardo,  W.  M.  Rossetti,  Holman  Hunt  and  Baron 
Liphart. 

The  history  of  the  picture  is  as  follows:  “It  was,”  accord- 
ing to  Mr.  Jarves,  “in  the  possession  of  a certain  Leopoldo 
Franceschi,  a native  of  Saint  Miniatello,  near  the  Sirth- 

38 


THE  HOLDEN  COLLECTION 


place  and  residence  of  Leonardo,  Vinci,  whence  he  derived 
his  name.  It  was  then  without  frame,  dingy  from  dirt,  and 
considered  of  small  value.  At  his  death  it  came  into  pos- 
session of  a carpenter,  by  name  ofMonta,  whose  heirs  sold 
it  in  1857  for  a trifling  sum  to  Vincenzo  Corsi,  of  Florence. 
He  gave  it  to  the  well-known  artist  and  restorer,  Torello 
Bacri,  to  be  cleaned.  On  the  removal  of  the  dirt  it  was 
found  to  be  in  excellent  condition  and  a picture  of  much 
value.  His  bill  was  only  three  dollars,  which  is  proof  of 
the  little  work  necessary  to  put  it  into  good  order.  Seeing 
it  soon  after  and  believing  it  to  be  by  Leonardo,  I purchas- 
ed the  entire  collection,  chiefly  with  the  view  of  securing 
this  painting.”1 

Wood.  Oil.  i6\  inches  high;  12!  inches  wide. 

1In  the  Jarves  Catalogue,  p.  18. 


39 


OTHER  SCHOOLS. 


GELLEE,  CLAUDE,  called  CLAUDE  LORRAIN,  1600- 
1682.  French  School. 

Pupil  of  Agostino  Tassi  in  Rome;  of  Claude  Deruet  in 
Nancy. 

45  Landscape. 

A landscape  showing  a stream  in  the  foreground,  several 
fine  old  trees,  and  a wooden  bridge  with  a man,  boy,  and 
dog  crossing  it.  To  the  right  is  a building  toward  which 
horsemen  are  approaching,  and  in  the  far  distance  the 
outlines  of  mountains  are  seen  against  a blue-grey  sky. 
In  the  foreground,  to  the  right,  a man  is  seated.  While 
this  picture  lacks  the  delicacy  and  lightness  of  many  of 
Lorrain’s  landscapes,  it  is  a good  example  of  his  art,  and 
expresses  in  many  respects  the  poetry  of  his  treatment. 
Canvas.  Oil.  29^  inches  high;  37 fV  inches  wide. 
Exhibited  in  Gallery  V. 

DURER,  ALBERT,  1471-1528,  School  of.  German  School. 

46  Adoration  of  The  Shepherds. 

The  scene  is  an  old  ruin.  In  a small  basket  lies  the  Infant 
Jesus,  quite  nude,  while  around  Him  are  little  angels 
in  adoration  and  the  kneeling  Virgin  leaning  over  Him. 
The  Virgin  wears  a robe  and  a mantle  of  a blue-green 
color,  and  over  her  head  a scarf.  To  the  right,  in  a red 
mantle  with  a hood,  kneels  Saint  Joseph.  His  long  face, 
long  beard,  and  thick  hair  are  very  unlike  the  round-faced, 
short-bearded  type  which  usually  represents  him.  The 
candle  which  he  holds  naively  suggests  a night  scene. 
Behind  the  Virgin  stand  two  shepherds,  much  concerned 
about  the  great  event.  In  the  sky  a floating  angel  an- 
nounces the  miracle  to  the  shepherds  in  the  far  distant 
landscape.  The  traditional  ox  and  ass  appear  above  the 
Child.  The  introduction  of  animals  into  scenes  of  the  Na- 
tivity dates  from  early  Christian  times,  although  their 
presence  was  not  mentioned  by  any  of  the  evangelists. 
The  theme  was  variously  interpreted,  but  the  apocryphal 

40 


THE  HOLDEN  COLLECTION 


version  of  Pseudo  Matthew1  was  the  one  kept  alive  dur- 
ing the'  centuries,  the  hearts  of  men  responding  to  the 
idea  that  their  Saviour  was  welcomed  by  the  humblest 
of  animals  at  a time  when  He  was  ignored  by  men. 

This  picture,  every  detail  of  which  seems  by  the  master, 
may  be  by  a pupil  of  Diirer.  The  background  and  the 
personages  are  entirely  in  his  style;  indeed,  the  group  with 
the  Infant  Jesus  is  freely  imitated  from  the  Nativity  in 
the  Munich  Pinakothek,  and  the  types  of  the  Virgin  and 
Saint  John  and  one  of  the  shepherds  may  be  seen  in  the 
Adoration  of  the  Magi  and  the  Apostle  in  the  Uffizi,  and 
in  the  Madonna  and  Child  in  the  Imperial  Museum  in 
Vienna. 

There  was  a monogram,  A D,  on  the  picture,  but  the  fact 
that  it  has  disappeared  with  the  cleaning  of  the  painting 
indicates  that  it  was  not  in  the  painting  originally. 

Canvas,  transferred  from  wood.  ii\  inches  high;  11 
inches  wide. 

Exhibited  in  Gallery  V. 

JORDAENS,  JACOB,  1593-1678,  School  of.  Flemish 
School. 

47  Landscape  With  Nude  Figures  and  Cattle. 

The  background  shows  a landscape,  done  in  soft,  dark 
tones,  very  characteristic  of  the  Seventeenth  century 
Flemish  School.  To  the  left,  are  seated  three  women 
and  a man,  nude  with  the  exception  of  one  of  the  women 
who  is  enveloped  in  a mantle  which  exposes  her  breast  and 
one  of  her  arms.  They  are  apparently  resting  after  a walk. 
To  the  right  are  a cow,  and  an  old  man,  the  latter  dressed 
in  blue  drapery  which  covers  part  of  his  body  and  holding 
a long  stick.  In  the  far  distance  to  the  right  are  cattle. 
The  picture  is  typical  of  Jordaens,  especially  in  the  treat- 
ment of  the  dimpled  skin  so  characteristic  of  him.2 
Canvas.  Oil.  3H  inches  high;  46#  inches  wide. 

Exhibited  in  Lobby  of  Gallery  V. 

1 See,  for  the  representation  of  animals,  Male:  V Art  Re/igieux  du  XIII  Si'ecle,  en  France. 
p.  248  and  Melanges  d' Archeologies  et  d'  Histoire,  Vol.  IV.,  p.  335. 

2 Rooses,  Maximilien:  Jacob  Jordaens,  his  life  and  work,  p.  40.  Martyrdom  of  Saint 
Appolonia,  and  p.  44,  The  Miracle  of  Saint  Martin. 

41 


THE  CLEVELAND  MUSEUM 


SNIDERS,  FRANZ,  1579-1657.  Dutch  School. 

Pupil  of  P.  Breughel. 

48  A Stork,  a Hare  and  Some  Fish  Hung  up  in  a Larder. 

Exhibited  in  Lobby  of  Gallery  V. 

SPRANGER,  BARTHOLOMEUS  (SPRANGER  VAN 
DEN  SCHILDEN),  1546-1611,  Flemish  School. 

Pupil  of  Jan  Mandyns  and  of  Dalem.  Greatly  influenced 
by  Parmigianino. 

49  Allegorical  Figures  of  Summer  and  Autumn,  or  Ceres 
and  Bacchus.  {See  illustration.') 

On  a pathway,  the  background  to  the  left  of  which  is 
decoratively  draped  with  a curtain,  a man  and  woman, 
almost  life-size,  are  walking.  He  clasps  her  right  hand  in 
his  left.  The  woman,  Ceres,  wears  a short  bodice  edged 
by  a broad  band,  from  the  ends  of  which  hangs  an  orna- 
ment in  the  shape  of  a man’s  head,  a drapery  which 
covers  her  hips  and  falls  in  folds  about  her,  exposing  her 
right  leg,  and  sandals.  In  her  left  hand  she  grasps  a sickle, 
while  heads  of  wheat,  indicating  the  harvest  season, 
are  entwined  in  her  hair.  The  man,  Bacchus,  is  nude 
except  for  a piece  of  goat-skin  which  crosses  his  chest  and 
covers  his  loins.  The  outer  fur  of  the  skin  falls  down  his 
back,  perhaps  a reminder  of  the  coming  winter.  His  right 
hand,  holding  a bunch  of  grapes,  the  symbol  of  the  vin- 
tage, rests  against  his  hip.  Leaves  are  entwined  in  his  hair. 
Flowers  lie  on  the  ground  at  the  feet  of  Ceres;  fallen 
leaves,  near  Bacchus. 

First  attributed  to  Tibaldeo  Pellegrino,  Mrs.  Berenson 
believes  this  picture  to  be  by  Paolo  Farinati,  with  strong 
traces  of  the  influence  of  Liberale.  It  was,  however,  with- 
out doubt,  done  by  Spranger,1  a painter  at  the  court  of 
Vienna.  Another  Ceres  and  Bacchus2  by  Spranger  is 
almost  identical  with  this  one,  and  it  is  only  necessary  to 
look  at  reproductions  of  the  artist’s  other  work  to  be 
convinced  of  the  authorship  of  this.  There  is  a drawing 

1 The  writer  is  indebted  to  Mr.  Bryson  Burroughs  for  suggesting  the  name  of  Spranger. 

2 Jahrbuch  der  Kunst  Historiscben  Sammlungen.  Article  of  Ernst  Diaz;  Der  Hof- 
meister  Bartholomeus  Spranger.  Fig.  14.  Also  analogies  may  be  seen  in  Fig.  15,  25,  26  and 
the  Tal.  17-19. 


42 


THE  HOLDEN  COLLECTION 


in  the  British  Museum  said  to  be  by  Hendrick  Goltzius1 
which  shows  these  identical  figures,  but  drawn  only  to 
the  waist.  Goltzius  was  essentially  an  engraver,  and  as  he 
did  little  and  poor  work  in  painting,  but  reproduced  many 
of  Spranger’s  pictures,2  it  would  be  natural  to  con- 
clude that  this  drawing  was  a reproduction  of  Spranger’s 
painting,  unless,  indeed,  one  believes  Spranger  himself  to 
be  the  author  of  the  drawing. 

Canvas.  Oil.  64!  inches  high;  39I  inches  wide. 

Exhibited  in  Gallery  IV  with  Italian  Paintings. 

TENIERS,  DAVID,  TheY ounger , 1 6 1 0-1690.  Flemish  School. 
Pupil  of  his  father,  David  Teniers;  influenced  by  Rubens 
and  Brouwer. 

A Peasant  Marriage. 

Through  the  open  window  of  a large  room,  which  has  vari- 
ous accessories  on  the  wall  and  the  ceiling  of  which  is  sup- 
ported by  a long  wooden  beam,  is  seen  a landscape.  An 
open  door  on  the  right  also  discloses  a landscape.  A wo- 
man, having  a bonnet  on  her  head  and  wearing  an  apron, 
is  just  entering  the  room.  In  her  left  hand  she  holds  a plat- 
ter of  food,  in  her  right  a jug.  Many  people  with  expres- 
sive faces  and  gestures  fill  the  room  and  watch  the  newly 
married  pair,  who  are  dancing.  A number  of  people  are 
grouped  round  a table  to  the  left.  A woman  holds  in  her 
left  hand  a shoulder  of  ham  and  in  her  right  a knife.  Next 
to  her  stands  a man  holding  a jug  full  of  beer,  which  he 
serves  to  the  vivacious  guests.  Behind  this  group  stands 
a youth,  with  a filled  glass  in  his  right  hand,  while  with 
his  left  he  flourishes  a hat.  Probably  he  is  drinking  the 
health  of  the  newly  married  pair.  A small  dog  is  intro- 
duced as  a spectator.  The  bride  wears  a white  bonnet,  a 
blue  skirt,  a white  apron,  and  a cream  bodice  cut  low, 
showing  a white  under-garment;  the  bridegroom,  green- 
ish trousers,  and  a brown  vest,  opened  slightly  so  as  to 
show  his  white  shirt.  Elis  cap  is  blue. 

The  whole  picture  is  full  of  movement,  and  has  that  in- 
tensity of  life  which  is  found  in  most  of  the  Flemish  pic- 
tures of  this  period.  The  execution  is  charming.  There  are 

1 Handzeichnungen  Alter  Meister  der  Hollandischen  Scbule.  Ser.  IV,  lief.  VI.  Bl.  48. 

2 Allgemeines  K'iinstler-Lexicon,  by  Hans  Wolfgang  Singer,  T.  II,  p.  69. 

43 


THE  CLEVELAND  MUSEUM 


certain  analogies  with  Teniers’  picture,  Interior  of  a Flem- 
ish Peasant  House,  and  especially  with  his  picture,  A 
Peasant  Marriage,  both  in  the  Munich  Pinakothek.  The 
picture  is  signed:  D.  Teniers,  J.  E. 

Canvas.  Oil.  17I  inches  high;  23!  inches  wide. 

Exhibited  in  Gallery  V. 

WOUWERMAN,  PETER,  1623-1682.  Flemish  School. 
Pupil  of  his  father  Pauwel  Jooster  Wouwerman,  and  of 
his  brother  Philip. 

51  Landscape  With  Figures. 

Beneath  a grey  sky  covered  with  clouds,  a blacksmith’s 
hut,  a house,  and  a tree  are  seen  to  the  left.  The  black- 
smith is  hammering  at  his  forge.  In  front  of  the  house 
sits  his  wife;  next  to  her  at  a low  table  is  her  little  boy 
looking  at  some  richly  dressed  cavaliers,  with  plumes  on 
their  heads,  who  have  just  stopped  to  have  their  horses 
shod.  Two  men  are  busy  attending  to  them.  To  the  right 
are  children  observing  the  scene.  One  is  on  stilts;  an- 
other seems  to  have  fallen  down  in  his  eagerness  to  see. 
In  the  far  distance  can  be  observed  a horseman  and  a 
town  with  environing  landscape.  It  is  probably  to  this 
town  that  the  cavaliers  are  bound.  In  the  near  fore- 
ground are  two  chickens  and  to  the  right,  a barking  dog. 
The  landscape,  which  presents  some  analogies  to  the  art- 
ist’s Scene  in  the  Stable  of  an  Inn,  in  the  Dresden  Gal- 
lery, is  well  handled,  the  types  being  interesting,  the  move- 
ments carefully  observed,  and  the  perspective  good. 

Canvas.  Oil.  1 7T  inches  high;  22  inches  wide. 

Exhibited  in  Gallery  V. 

SPANISH  SCHOOL.  Seventeenth  century. 

52  Old  Woman  Asleep. 

Against  a very  dark  background  an  old  woman,  holding  a 
staff  between  her  knees,  and  a pair  of  spectacles  in  her 
hands,  is  sitting  asleep  in  an  armchair  covered  with  a light 
brown  drapery.  She  wears  a black  bodice,  and  over  her 
skirt  a grey  apron.  On  her  head  is  a light  yellow  cloth 
which  covers  her  forehead  and  the  sides  of  her  face,  and 


44 


THE  HOLDEN  COLLECTION 


falls  to  her  shoulders.  The  open  book  on  a table  at  her 
side  indicates  her  occupation  before  she  fell  asleep. 

An  interesting  portrait,  with  a slight  analogy  to  the  paint- 
ings of  Pablo  Legote  and  a remote  suggestion  of  the  man- 
ner of  Rembrandt. 

There  is  a monogram  on  the  window  ledge  which  has  not 
been  identified. 

Canvas.  Oil.  12!  inches  high;  i6y  inches  wide. 
Exhibited  in  Gallery  V.  Painters.  Dutch  and  Spanish. 

53  BUST. 

Bronze  and  Colored  Marble. 

Italian.  XVI  century. 

54  VENETIAN  CANDELABRA. 

XVI  Century. 

The  John  Huntington  Collection. 


BIBLIOGRAPHY 

List  of  books  and  publications  mentioned  in  foot  notes  in  the  Holden 
Catalogue.  Books  marked  (*)  are  to  be  found  in  the  Museum  Library. 

Allgemeines  Kunstler-Lexikon,  by  Hans  Wolfgang  Singer. 

*Berenson,  Bernard — The  Florentine  Painters  of  the  Renaissance. 

Beruette,  A.  de — Velasquez. 

Brockhaus,  H.  E. — Michelangelo  und  die  Medici  Kapelle. 

*Bulletin  of  the  Metropolitan  Museum  of  Art  Vol.7,  No. 10,  (Oct.  1912). 

Ferrigni,  Mario— Madonne  Fiorentine. 

Graphische  Kunste,  1912. 

Gruyer,  F.  A. — Raphael,  Peintre  de  Portraits. 

Heyck,  Edward — Die  Mediceer. 

Handzeichnungen  alter  Meister  der  Hollandischen  Schule. 

Jacobsen,  Emile — Sienesische  Kiinstler  der  Trecento.  Sodoma  und  das  Cinquecento  in  Siena. 
Jahrbuch  der  Kunst  Historischen  Sammlungen — Article  of  Ernst  Diaz  “Der  Hof- 
meister  Bartholomeus  Spranger’’. 

*Jarves,  James  Jackson — Handbook  for  visitors  to  the  Hollenden  Gallery  of  old  Masters 
exhibited  at  the  Boston  Foreign  Art  Exhibition,  1S83-4. 

Kuhnel,  Ernst — Francesco  Botticini. 

L’Arte,  1914. 

Litta,  Pompeo — Famiglie  Celebri  Italiane. 


45 


THE  CLEVELAND  MUSEUM 


*Knapp,  Fritz — Michelangelo. 

Male,  Emile — L’Art  religieux  du  XIII  Siecle  en  France.  Melanges  d’Archeologies  et 
d’Histoire.  L’Art  religieux  de  la  Fin  du  Moyen  Age  en  France. 

*Michel,  Andre — Histoire  de  l’Art. 

Molmenti,  Pompeo — Tiepolo. 

Ozzola — Vite  e opera  di  Salvatore  Rosa. 

Rassegna  d’Arte,  Anno  V.  N.  I.  (January  1905)  *Anno  VII,  N.  I,  (January  1907). 

Ricci,  Corrado — L’Opera  dei  Grandi  Artisti  Italiani  T.  2,  Melozzo  da  Forli. 

Rooses,  Maximilien — Jacob  Jordaens,  his  life  and  works. 

Schmarsow,  August — Joos  van  Gent  und  Melozzo  da  Forli. 

Steinmann,  E. — Geheimnis  der  Medicigraber. 

*Venturi,  Adolfo — Storia  dell’  Arte  Italiana. 

Williamson,  George — Bernardino  Luini. 

Zottman,  Ludwig — Kunst  der  Bassini. 


List  of  books  published  in  English  for  the  general  study  of  Italian  Art. 
Books  marked  with  (*)  are  to  be  found  in  the  Museum  Library. 


* Vasari,  Georgio — Lives  of  Seventy  of  the  Most  Eminent  Painters,  Sculptors,  and  Architects 
— ed.  by  E.  H.  & E.  W.  Blashfield  and  A.  A.  Hopkins.  Scribner,  1903. 

*Berenson,  B. — *The  Venetian  Painters  of  the  Renaissance,  Putnam  1907.  *The  Flo- 
rentine Painters  of  the  Renaissance,  Putnam,  1909.  *The  Central  Italian  Painters  of 
the  Renaissance,  Putnam,  1908.  *The  North  Italian  Painters  of  the  Renaissance,  Putnam‘ 
1907.  *The  Study  and  Criticism  of  Italian  Art.  2 Vol.  London,  1912. 

*Blashfield,  E.  H.  & E.  W. — Italian  Cities,  2 Vol.  N.  Y.,  1901. 

*Brown,  G.  Baldwin — The  Fine  Arts.  N.  Y.,  1902. 

*Burchhardt,  Jacob — The  Cicerone,  an  Art  Guide  to  Painting  in  Italy.  Trans,  by  Mrs.  A. 
H.  Clough,  London, 1908. 

*Cox,  Kenyon — Old  Masters  and  New.  N.  Y.,  1905.  *Painters  and  Sculptors,  N.  Y.,  1907. 
*The  Classic  Point  of  View,  N.  Y.,  1911. 

♦Crowe  and  Cavalcalselle — *A  History  of  Painting  in  Italy.  Edited  by  Langton  Douglas, 
6 Vol.,  London,  1903.  *A  History  of  Painting  in  North  Italy.  Edited  by  T.  Borenius, 
3 Vol.,  London,  1912. 

*Dalton,  O.  M. — Byzantine  Art  and  Archaeology- — Oxford,  Clarendon  Press,  1911. 

Douglas,  Langton — A History ofSiena.  London,  1902. 

Freeman,  L.  J.— Italian  Sculpture  of  the  Renaissance.  Macmillan,  1901. 

*Jameson,  Mrs.  A. — *Sacred  and  Legendary  Art.  2 Vol.  London,  1848.  ^Legends  of  the 
Monastic  Orders.  London,  1850.  ^Legends  of  the  Madonna.  London,  1852.  *The  Life  of 
Our  Lord  in  Art.  London,  1846. 

*Reinach,  Salomon — Apollo.  Scribner,  1913. 

*Symonds,  J.  A. — Renaissance  in  Italy,  The  Fine  Arts.  Scribner,  1915. 


46 


ILLUSTRATIONS 


n. 


49 


No.  4.  VIRGIN,  CHILD  AND  ANGELS.  NERI  DI  BICCI 

5° 


No.  6.  VIRGIN  AND  CHILD.  FRANCESCO  BOTTICINI 


51 


No.  12.  VIRGIN  AND  CHILD.  LORENZO  DI  CREDI 


No.  14.  MADONNA  ADORING  THE  CHILD,  ATTENDED  BY  ANGELS. 
PIER  FRANCESCO  FIORENTINO 


!<}*?• 


53 


No.  15.  PORTRAIT  OF  A FLORENTINE  DOCTOR.  FLEMISH  SCHOOL 
FIFTEENTH  CENTURY 


54 


No.  16.  MADONNA  SUCKLING  THE  CHILD  AND  THE  TEMPTATION  OF  EVE. 
ITALIAN  SCHOOL.  LATE  FOURTEENTH  CENTURY 


W 


55 


No.  19.  POPE  SIXTUS  IV.  ITALIAN  SCHOOL.  LATE  FIFTEENTH  CENTURY 

57 


No.  26.  VIRGIN  AND  INFANT.  BERNARDINO  LUINI 


V) 


58 


No.  27.  SALOME  WITH  THE  HEAD  OF  ST.  JOHN.  BERNARDINO  LUINI 

59 


No.  28.  PORTRAIT  OF  A GENTLEMAN  AND  HIS  WIFE 
GIOVANNI  BATTISTA  MORONI 


60 


No.  30.  VIRGIN  AND  CHILD.  DI  JACOPO  FRANCHI  ROSELLO 

6l 


No.  33.  PORTRAIT  OF  GIULIANO  DE’  MEDIClV^  IL  SALVIATI: 
(REAL  NAME  FRANCESCO  DEI  ROSSI) 


62 


No.  34.  MADONNA  AND  CHILD  WITH  SAINTS:  SAINT  MARK  AND  SAINT  ANTHONY  ON 
THE  LEFT,  SAINT  AUGUSTINE  AND  SAINT  SEBASTIAN  ON  THE  RIGHT 
LORENZO  DA  SAN  SEVERINO 

63 


No.  36.  VIRGIN  AND  CHILD.  SIENESE  SCHOOL.  EARLY  FIFTEENTH  CENTURY 

65 


n 

No.  37.  CRUCIFIXION.  IL  SODOMA:  (REAL  NAME  GIOVANNI  ANTONIO  BAZZI) 

66 


No.  43.  VIRGIN  AND  CHILD.  LEONARDO  DA  VINCI. 

67 

p j;,  .*>.  r? 


No.  49.  ALLEGORICAL  FIGURES  OF  SUMMER  AND  AUTUMN,  OR  CERES  AND  BACCHUS. 
BARTHOLOMEUS  SPRANGER.  (SPRANGER  VAN  DEN  SCHILDEN) 

68 


I- 


J 


'Y  CENTER  LIBRARY 

N 552  H76  Cleveland  Museum  of 

Catalogue  of  a collection  of  paintings 


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